Georgia O'Keefe: The Television Movie

GEORGIA O'KEEFE 

Georgia O'Keefe lived to be almost 100. How then do you capture the entirety of her extraordinary life and career in a 90-minute film? You do not try. Instead, Georgia O'Keefe concentrates on her most influential relationship. With solid performances and engaging figures, Georgia O'Keefe is a wonderful introduction to this exceptional artist. 

New York City, 1916. Famed photographer Alfred Stieglitz (Jeremy Irons) is hosting an art exhibit for a new painter that he is wildly enthusiastic about. There is one person wandering the gallery, however, who is not particularly pleased at the exhibition. That person just happens to be the exhibit's subject. Georgia O'Keefe (Joan Allen) insists that she did not give approval for her art to be exhibited or sold. Stieglitz insists that her art should be seen. She needs a place to stay. He has a spare room. They begin an affair.

Stieglitz is enthusiastic about O'Keefe as both an artist and a woman. He does for her something that he has done for no other artist or mistress. He leaves his wife, which surprisingly pleases the other Stieglitz family members. At least Mother Stieglitz (Kathleen Chalfant) is thrilled. Alfred's doctor brother Lee (Ed Begley, Jr.) is less thrilled despite himself having a mistress. Georgia finds Alfred's comment about her being "the American female Picasso" displeasing. She also finds his newest mistress and patron less pleasing. 

In frustration and desperation, O'Keefe goes to New Mexico. Here, she takes informal refuge with flamboyant art patroness Mabel Dodge Luhan (Tyne Daly). This is the perfect place for O'Keefe to paint and reflect. Stieglitz, back home in New York, is enraged to hear stories of O'Keefe cavorting with this eccentric set. He is particularly displeased that she is enjoying the company of Harlem Renaissance writer Jean Toomer (Henry Simmons). The idea that she could be lying naked with, as Stieglitz calls him, "the black prince of Harlem" particularly upsets him. 

Alfred and Georgia do reconcile, especially after Alfred has a health scare. They learn to accept each other. Ultimately, Alfred Stieglitz dies in 1946, Georgia following 40 years later. Despite their tempestuous relationship, she becomes his champion while maintaining her own artistic output.

Georgia O'Keefe is blessed with excellent performances all around. Joan Allen commands the screen as the title figure. She does something interesting in her performance. She rarely if ever rages or explodes. Instead, she communicates O'Keefe's artistic and personal struggles with quiet grace. This is not to say that O'Keefe is a shrinking violet. One of her best qualities is her total bluntness. Early on she tells Stieglitz that she will not be his mistress. Allen's O'Keefe is a blunt broad. Yet Allen never has grand moments of theatricality. It is her forthright manner that draws us in. She is direct and honest, a woman true to herself. Allen does not make her a martyr or heroine. Instead, Allen makes Georgia into someone aware of herself and who knows her value. She does not deny her talents but does not accept compliments either.

Allen has some wonderful moments in her Emmy-nominated performance. She does a wonderful job when talking about art, who it brings something out of her into the world. It is a moving scene that makes us like and respect her.

Jeremy Irons, also Emmy-nominated, makes Alfred Stieglitz a delightful, almost comic character. He flutters about O'Keefe. He is almost apologetic about his interests in her in and out of clothes. That is not to say that Irons makes Stieglitz into a cartoon or a joke. As was observed in Georgia O'Keefe, Alfred wants to be adored, not loved. He does not shy from taking on a new mistress. However, he also openly delights in O'Keefe's achievements. Late in the telefilm, O'Keefe is horrified that her nude photos were put on display. Stieglitz tells her that to him, her beauty is too wonderful not to share. 

The film has nice moments of wit too. "An artist doesn't work for money. He works for pleasure", Stieglitz tells O'Keefe when she tells him of their financial problems. She retorts that saying something like that is a nice way to say that they are poor. Alfred's newest mistress is pleasant but not unaware of the difficulties she is causing. O'Keefe begins struggling with a particular health issue that she has not had before. A friend of O'Keefe tells her, "When she goes, so will your migraines". 

Georgia O'Keefe also has some strong work from the supporting cast. Ed Begley, Jr. holds his own as the eventually forceful Lee Stieglitz. As Georgia is recovering from a breakdown, Alfred is adamant that he must see her. Using his doctor's privileges, Lee makes clear that Alfred will do no such thing. He ends by telling him how cruel he has been, showing Lee's backbone. Tyne Daly has a lot of fun as the wacky and perhaps whacked-out Mabel Luhan. She brings a bit of eccentric humor to things. 

Bob Balaban shows himself a strong director with his cast. He also manages to move things quite well. Georgia O'Keefe never feels rushed nor compressed. That is impressive given that O'Keefe lived to age 98 and the film is a mere 90 minutes long.  

Georgia O'Keefe is respectful without being reverential. The production was blessed with the full cooperation of the O'Keefe estate. As such, we get glimpses into her extraordinary creative output. Georgia O'Keefe is a strong introduction to this legendary figure, where we see the artist come into full bloom. 

1887-1986

9/10