By: debbie lynn elias
After a seemingly interminable dry spell in quality “chick flicks”, director and screenwriter Callie Khouri, creator of the quintessential chick flick, “Thelma & Louise,” saves us all with this hysterical and histrionic romp with four strong-willed, stubborn, determined, irreverent, fun-loving, Southern women known as the Ya-Yas. Bonded together by blood from a knife prick to the palms of their hands back in 1937, Vivi, Caro, Teeny and Necie, made themselves high priestesses of the Ya-Ya Sisterhood. Inseparable through thick and thin throughout their lives, this is a bond and friendship the women still take to heart some 60 years later, living the credo “Smoke, Drink, Never Think” – and they do!
Based on the Rebecca Wells bestsellers, “Divine Secrets of the Ya-Ya Sisterhood” and “Little Altars Everywhere,” Ya-Ya is the story of thirty-something Sidda Lee Walker, daughter of the founding Ya-Ya, Lousiana matriarch, Vivi Walker. Described by Vivi as “the rotten fruit of her womb”, Sidda, now a successful playwright in New York, appears to have come a long way from her Louisiana roots and her mother’s eccentricities and insanities – or so she thinks. Set to marry her handsome, intelligent, level-headed Scottish boyfriend Connor, Sidda’s volatile relationship with her mother comes to head after Vivi reads an interview given by Sidda to Time magazine, causing Sidda’s insecurities and fears to take control of her life and as part of the fallout, Sidda calls off her wedding. Giving credit where credit is due, Sidda merely stated that she owed her creativity to her mother, because without a difficult childhood, she’d have nothing to write about; well that and references to Vivi’s drinking and whippings given to Sidda and her siblings years ago. Naturally misquoted and taken out of context, Sidda tries to explain to Vivi what was really said, but to no avail. Phones slam repeatedly, World War III begins and as to be expected in true to form Southern histrionics, Vivi declares Sidda dead to her. Photos and plaques are removed from the walls, Sidda’s face cut out of family photos, her name stricken from Vivi’s will, etc., etc., etc. (Okay – Do Wells and Khouri know my mother?)
Pouring herself another double bourbon, Vivi summons her lifelong Ya-Ya friends to rally round her in this time of crisis. Realizing there is no reasoning with Vivi, the Ya-Ya’s take matters into their own hands and go behind Vivi’s back, “kidnapping” Sidda in the hope of repairing this mother-daughter disaster and salvaging Sidda’ future by explaining Vivi’s past. As Sidda studies the sacred Ya-Ya scrapbook, she is regaled with tales of her mother, shown through flashbacks. Although told from the Ya-Ya perspective, Khouri interspurses Sidda’s more-unpleasant-than-not childhood memories throughout, giving an emotionally charged balance to the events that have shaped the lives of Vivi and Sidda. After all, there are two sides to every story and Khouri doesn’t miss a beat.
The most significant flashbacks take place in the late 1950’s where Vivi is played by Ashley Judd, in what is indisputably the performance of her career (which is saying something given her diversity and excellence in “Double Jeopardy”, “Someone Like You” and “Kiss the Girls”). Living hard, living fast, wanting more than to be a cotton farmer’s wife in rural Louisiana, Judd is more than convincing as she bounces from a seemingly happy-go-lucky child and teen to self-medicated alcoholic adult inflicting pain and torture on herself and her children.
Likewise, Sandra Bullock has topped her prior performances with her portrayal of Sidda – guilt-ridden yet successful, angst-filled but uncertain as to the exact reasons why, delightfully content when basking in the love of her daddy, hysterical and hysterically funny when fighting with Vivi, and tearfully forgiving of herself and Vivi when secrets are outed and burdens are lifted. Not a daughter alive won’t be able to identify and connect with Sidda once they see Bullock.
But the greatest treasures of Ya-Ya are the Ya-Yas themselves. Ellen Burstyn as Vivi should pick up an Oscar nod. (I still want to know, did she follow my mother around while studying her character? Gave me chills, I assure you!) Maggie Smith as Caro is the epitome of Southern droll, toting around an O-2 tank, giving crass matter-of-fact verbal deportments while simultaneously inhaling oxygen and holding a Bloody Mary. Tears will be rolling down your cheeks as laughter has you rolling in the aisle. And of course, the incredible Fionnula Flanagan as the now dry Teensy (thanks to “The Betty”, as in Betty Ford Center, don’t ya know) is a scream while veteran Shirley Knight as the skittish Necie is pure parfait mixed with a few nuts. Burstyn and Flanagan together come across as the AARP version of Thelma and Louise as they drag race down the highway flipping each other off. Feisty and funny!
But let’s not forget the guys. James Garner is perfect as Shep Walker. With the patience of a saint, Shep has survived 40 something years with Vivi. He is the calming force in the family, seemingly standing in the background, letting Vivi have her tantrums and breakdowns, yet never turning his back on her. His greatest gift, however, is his knowledge of the pain his daughter feels because of her mother and his attempt to somehow make up for it while still protecting Vivi. There’s not another actor around that I can even envision in this role. And then there’s Sidda’s fiancé Connor played by Scottish actor Angus MacFayden. Probably best known for his work in “Braveheart” as Robert the Bruce, MacFayden plays Connor as a young version of Shep. After all, girls tend to look for husbands just like their daddy’s and MacFayden’s portrayal is perfect.
Undiluted, sassy dialogue peppered with distinctive Creole and Southern phrases keep the cast and audience focused on the time and place from whence the Ya-Yas come. (“Enough mama drama!”) Given the keen delivery and timing of every member of this talented cast, you’ll wait with baited breath for the next pearl of wisdom or philosophical tyrade. Khouri’s attention to detail (Sidda sniffing a jar of Noxema and recalling fun-filled days as a child or Vivi giving Sidda water to help her stop coughing which was actually bourbon laced melted ice water), her empathetic and sympathetic multi-generational viewpoints and her heroic efforts to cover a 60 year time span will not be lost on the audience. You’ll laugh, you’ll cry, you’ll forgive your own mother (well, maybe). Bottom line – you can’t help by go ga-ga for Ya-Ya.
