(Lucky Otter’s Haven) I remember when I first saw this 1980 Academy Award-winning movie being quite triggered by it, because the main character, Beth Jarrett (played convincingly by Mary Tyler Moore) reminded me so much of my mother, all the way down to her impatient, flippant mannerisms, fake cheerfulness, and clipped speech. And at the time I felt very much like the teenage son, Conrad (Timothy Hutton), who was clearly suffering from a severe case of PTSD and depression, which no doubt had its roots in his mother’s emotional abuse and coldness.
“Ordinary People” (directed by Robert Redford) is about an upper-middle-class family from the Chicago suburbs, but the individuals involved are certainly not ordinary–or at least you hope they aren’t. Moore’s Beth Jarrett is a high-spectrum malignant narcissist who cares only about her social position and status and the appearance of having “the perfect family” and “the perfect life.” She is always perfectly dressed and coiffed, and can pour on the fake charm whenever she is trying to impress their friends and colleagues. Beth’s husband Calvin (Donald Sutherland) provides his family with their affluent lifestyle and is a good man who cares deeply for his family but is codependent to his narcissistic wife, who makes endless demands on him to keep up the image of perfection, and you can see from his demeanor it’s destroying him.
Their son, Conrad, is his mother’s scapegoat, and while she never actually says so, it’s clear that she blames him for the accidental boating death of her Golden Child, Buck (shown only in flashbacks). Conrad was with Buck at the time of the accident and suffers from survivor’s guilt in addition to PTSD which was probably caused by his mother’s horrific treatment of him as well as his guilt over the accident because he was unable to save his older brother’s life. The movie begins just after Conrad has been released from the hospital after a suicide attempt. I think there is more to Beth’s hatred of her child than her belief he is to blame for Buck’s accident. I think she hates him because he sees the truth about her, and calls her out on it. He is sensitive and able to see through her mask of perfection to the monstrous narcissist she actually is, and she can’t handle that.
From the very beginning, we can tell Beth despises her depressed remaining child. Her attitude toward Conrad is dismissive and impatient, and she makes no attempt to understand and appears to have no empathy for the emotional turmoil he’s in. She always puts her own needs ahead of her son and husband, and berates Calvin for attempting to understand his son’s pain. There’s not one moment where she shows the slightest shred of sympathy or love for him, and yet on the surface, no one would call her abusive, because of the mask of normality she always wears. Here’s a scene where Conrad attempts to talk to his mother about why they never had a pet–you can see how disconnected Beth is from Conrad’s (or her own) emotions, and Conrad’s hurt comes out as rage.
There’s a heartbreaking scene where the grandparents are present and Calvin is taking pictures. When he asks Beth to pose with her son, she glibly changes the subject to avoid having to SAY she doesn’t want her picture taken with him, but her disgust is obvious. Calvin insists, and Beth smiles with gritted teeth as she coldly stands next to her son. Conrad, who is sensitive, picks up on his mother’s hatred but tries to smile anyway. Beth, still smiling her fake smile, demands that Calvin give her the camera so she doesn’t have to have her picture taken with Conrad, but Calvin keeps insisting. Conrad, fed up and hurt, loses his temper and screams “Give her the goddamn camera!” It’s scenes like this that so brilliantly depict the subtle emotional abuse a malignant narcissist mother inflicts on her most sensitive child.
The camera scene.
Conrad begins seeing a psychiatrist, Dr. Berger (Judd Hirsch) who begins to get Conrad to open up about his feelings and show his anger. He also begins to date a girl he met in band practice (Elizabeth McGovern), who is upbeat yet understanding and helps bring Conrad out of his shell.
Calvin and his mother seem to be constantly arguing. Calvin tries to referee, but can’t seem to appeal to his wife’s loving nature, because she apparently has none. After one of these arguments, Conrad calls out his mother for never having visited him in the hospital, adding that “You would have visited Buck if he was in the hospital,” to which Beth retorts, “Buck never would have been in the hospital!” This is a clear implication of the higher esteem she held her older son in, who she believed would never have “gone crazy” and had to be hospitalized. Unlike Conrad, Buck would have enhanced, rather than diminished, the image she had of having a perfect life and perfect family.
Beth’s evil really comes out when they go on vacation to Texas to visit with some of Calvin’s colleagues. While golfing, Beth sweetly suggests to Calvin they go on another vacation–which would be during Christmas. Calvin agrees but suggests they should bring Calvin along with them because he might enjoy the trip. To this, Beth flies into a narcissistic rage and loudly berates her husband for always trying to include Conrad in everything. During this rage, she projects her own anger and selfishness onto her husband, who unsuccessfully tries to stand up to her. Later in this clip, there’s a chilling scene after Conrad’s parents return home and Conrad tries to give Beth a hug. Beth’s face stays cold and hard and you can feel the hatred and disgust she has for her child while she barely returns his embrace at all.
The golf scene and “the cold hug.”
Conrad finds out his friend Karen from the hospital (Dinah Manoff) has committed suicide. Frantic, he makes an emergency appointment with Dr. Berger and shows up in his office in a broken state. He rages and then sobs uncontrollably and everything comes pouring out: the whole story about the night Buck died and how he blamed himself, his mother’s hatred for him, and how he was never good enough. Dr. Berger listens and holds him like a parent would a child, and finally, Conrad begins to calm down.
Gradually, Calvin becomes more aware of his wife’s malignant narcissism and is beginning to doubt her ability to love anyone but herself. One night Beth finds him crying alone and asks him why he is crying. Calvin asks Beth if she really loves him and she gives him a non-answer, saying “I feel the way I’ve always felt about you.” Calvin admits he is not sure he loves her anymore. He’s beginning to see the soulless monster she really is. Early in the morning, Beth leaves for good, not saying goodbye to her husband or son, leaving them to fend for themselves and try to pick up the shattered pieces of their lives together. No doubt both are much better off this way.
Calvin’s realization and confrontation with Beth.
This is one of the most convincing and well-acted movies about the havoc a malignant narcissist mother can wreak on her family I have ever seen, and 35 years later, it still hits home because of the uncanny similarities I see to my own mother (who was not as outwardly rejecting or quite as malignant as Beth Jarrett). Every one of the 9 DSM indicators of Narcissistic Personality Disorder is evident in Beth. If anyone is interested in studying the myriad ways a malignant narcissist inflicts their abuse and scapegoats their children, this movie is the best case study I can think of, outside of having to deal with one yourself. Of course, not all malignant narcissists are upper-middle class like Beth is, but even though the specific words and actions may differ from one social class to the next, the manipulations and abuse are always the same.
This trailer shows other scenes of the way Beth emotionally abuses, gaslights, projects, and triangulates against her surviving son.