While searches for “Mercedes Ruehl Illness” might lead you here, it’s important to clarify that this article does not delve into any personal health issues of the acclaimed actress. Instead, we aim to explore a different kind of “illness” – the challenges and biases within Hollywood that impact actresses, particularly as they navigate age and career longevity. Through a detailed look at Mercedes Ruehl’s illustrious career, based on a compelling interview, we uncover the realities of an industry that can be both rewarding and relentlessly demanding.
Mercedes Ruehl burst onto the scene in the late 1980s, captivating audiences with her fiery presence and undeniable talent. After memorable roles in hits like “Heartburn” and “Big,” her breakthrough came with “Married to the Mob” in 1988. Critics lauded her performance, and Hollywood eagerly anticipated the arrival of a fresh star.
Mercedes Ruehl pictured in 1984, showcasing her early career in Hollywood. This image highlights her vibrant presence even before her major breakthrough roles.
This initial promise quickly materialized into significant acclaim. Ruehl secured an Oscar for her role in “The Fisher King” (1991), a surreal comedy where she starred alongside Jeff Bridges and Robin Williams. Winning the prestigious award at 44, she stood at what seemed like the peak of her film career. However, as Ruehl herself reveals, Hollywood’s landscape for women can be unexpectedly harsh. She describes how big-screen opportunities began to diminish soon after her Oscar win, echoing what some call the “Best Supporting Actress curse.” “It’s hard to get a job after that,” she explained, highlighting a common industry perception that success leads to inflated salary demands. Despite remaining a prominent figure on Broadway and finding work on television, Hollywood’s embrace cooled significantly.
This shift raises a crucial question: why did Hollywood seemingly sideline an actress of Ruehl’s caliber? Despite her undeniable screen presence and captivating performances, theatrical film roles became scarce. For fifteen years, from 2004 to 2019, she didn’t appear in a single theatrically released movie until her role as a strip-club matron in “Hustlers.” Her career continued through stage work in productions like “Torch Song” and “Occupant,” television series such as “Entourage” and “Power,” and acting seminars she conducts, demonstrating her enduring passion and commitment to her craft. However, the industry’s ageism presented a clear professional hurdle.
Seeking to understand her career trajectory, Ruehl reflected on various projects, including “Another You,” “Last Action Hero,” “Lost in Yonkers,” and “Gia.” During a phone interview from her Hamptons quarantine, she shared insights into her early breaks, the stark realities of Hollywood’s treatment of women, experiences working with complex personalities, and her perspective on the industry’s evolution, particularly in the post-#MeToo era.
Early Career and Breakthrough Moments
Ruehl recounted her early substantial movie role in Mike Nichols’ “Heartburn,” written by Nora Ephron and featuring Meryl Streep and Jack Nicholson. The audition itself was a memorable experience, taking place at Nichols’ office in the Carlyle Hotel. She described Nichols as a “true mensch” who immediately put her at ease. After reading for several smaller parts, Nichols humorously suggested she could play them all, impressed by her versatility and “chutzpah.”
Following “Heartburn,” Ruehl’s career gained momentum with roles in “Radio Days,” “The Secret of My Success,” and “Big.” However, she didn’t perceive herself as having truly “hit the big time” until “Married to the Mob.” Before this, she felt confined to character roles, despite significant success in regional theatre. A turning point arrived when she was cast in Albert Innaurato’s play “Coming of Age in Soho” at the Public Theater in New York City. This opportunity came after a period of career uncertainty, where Ruehl was contemplating a career change. This role marked the beginning of a series of positive developments, a subtle yet significant shift in her career trajectory. Despite this, she recalled a casting director suggesting she might be limited to “best-friend roles,” implying a perceived lack of leading lady qualities.
Facing Typecasting and Industry Perceptions
Ruehl questioned the implicit bias behind being typecast, suggesting it stemmed from perceptions about her “artistic weight,” “gravity,” or conventional beauty. Despite this, she maintained a strong self-belief. The audition for “Married to the Mob” presented a dilemma. Initially hesitant about portraying a “vulgar” character, she decided to approach the role with vulnerability and realism. Jonathan Demme, the director, recognized this approach as exactly what he was seeking, casting her in the pivotal role. However, Ruehl almost jeopardized this opportunity due to a combination of nerves and mishaps.
Mercedes Ruehl in “Married to the Mob,” showcasing her vibrant and memorable character portrayal that marked a significant turning point in her film career.
Between landing the role and the first table read, she got a perm for the “big hair” style of the 80s and then contracted poison ivy in a comical yet stressful incident. Adding to the chaos, she was late for the table read, prompting a stern call from her agent who warned her about being fired. Ruehl managed to salvage the situation by directly contacting Jonathan Demme, explaining her anxieties and promising to overcome them. She humorously mentioned the hair situation, and with the help of a kind producer, Kenny Utt, who ensured she received treatment for the poison ivy, she navigated the initial hurdles and began filming.
Reflecting on her iconic gun-waving scene in “Married to the Mob,” Ruehl acknowledged the collaborative effort in creating such a memorable moment. She credited the hair stylist for her Medusa-like appearance, which amplified the character’s intensity. Ruehl and Demme agreed that underplaying the scene would heighten its impact, focusing on a quiet, simmering menace rather than overt aggression.
Working with Comedy Legends and Navigating Film Set Dynamics
Moving on to “Another You,” one of Richard Pryor and Gene Wilder’s later films, Ruehl shared her experiences working with these comedic icons. She felt a closer connection with Richard Pryor, who was battling multiple sclerosis at the time. She visited him after filming, remembering his generosity, kindness, and humor, despite his physical fragility. The film’s direction, initially helmed by Peter Bogdanovich, faced challenges, and he was eventually replaced. Ruehl alluded to various personal and professional difficulties surrounding the production, including Pryor’s health, Wilder’s grief after Gilda Radner’s death, and Bogdanovich’s emotional state.
Comparing her experiences with improv masters like Pryor, Wilder, and Robin Williams, Ruehl highlighted the distinct atmosphere on the set of “The Fisher King.” She emphasized the strength of Richard LaGravenese’s script and Terry Gilliam’s directorial vision in providing structure and focus. While Robin Williams was known for his improvisational brilliance and constant entertainment, Gilliam skillfully guided him to stay true to the script. Ruehl fondly recalled an all-night scene in a Chinese restaurant with Williams and Amanda Plummer, describing it as a night filled with laughter and unparalleled fun, a stark contrast to the somewhat fragile dynamic during the filming of “Another You.”
Mercedes Ruehl alongside Richard Pryor and Vanessa Williams in “Another You,” a film that presented unique challenges due to various factors affecting the cast and production.
Typecasting Concerns and Career Choices
Addressing earlier concerns about typecasting, Ruehl acknowledged a tendency to be cast as “tough-talking New Yorkers.” However, she also recognized the quality of roles like those in “Married to the Mob” and “The Fisher King,” making them impossible to refuse. She mentioned her stage work in plays like “Other People’s Money” and “I’m Not Rappaport,” where she played against type. Despite typecasting anxieties, she ultimately embraced roles that offered substantial creative opportunities.
Ruehl discussed the film adaptation of “Other People’s Money,” for which she wasn’t cast despite originating the role onstage. She later faced a similar situation with “Lost in Yonkers,” another stage role she reprised for the film. In the case of “Other People’s Money,” her agent advised her to decline a meeting for the film role as she had already committed to the Broadway production of “Lost in Yonkers.” Ruehl recognized the wisdom in this decision, choosing the project with greater long-term potential. While the film version of “Lost in Yonkers” didn’t achieve significant commercial success, Ruehl felt the play was a more successful adaptation of Neil Simon’s work, suggesting that Simon’s plays often didn’t translate effectively to film, with some exceptions like “The Odd Couple” and “Barefoot in the Park.”
Working with Arnold Schwarzenegger and Hollywood’s “Virus”
Ruehl recounted being specifically requested by Arnold Schwarzenegger for “Last Action Hero,” describing him as “a lot of fun” to work with, although she considered the role less memorable. She shared an anecdote about meeting Schwarzenegger at a pre-Thanksgiving gathering hosted by Sargent and Eunice Shriver, where his kindness and down-to-earth demeanor impressed her. This positive initial encounter likely contributed to his desire to work with her.
In a 1995 interview with Charlie Rose, Ruehl spoke about the “virus” of Hollywood and the industry’s unrealistic nature, particularly for women seeking power. She noted that while discussions about unfair treatment of women were happening in the mid-90s, significant change was slow due to the entrenched power structures. Ruehl, by then in her 40s, felt that Hollywood’s interest in actresses waned after a certain age. She recalled early career experiences with producers and directors whose behavior she deemed “unacceptable,” though not on the scale of figures like Harvey Weinstein. She described Hollywood as a world of superficiality, power dynamics, and ageism, emphasizing its lack of appeal for her personally. An anecdote about leaving her own opening-night party last illustrates her disconnect from Hollywood’s artificial social norms.
Mercedes Ruehl pictured with fellow Oscar winners Anthony Hopkins, Jodie Foster, and Jack Palance at the 1992 Academy Awards, a pinnacle moment in her career that was followed by unexpected industry challenges.
“Gia” and Shifting Industry Dynamics
Reflecting on “Gia,” filmed six years after her Oscar win, Ruehl recognized the shift in her industry positioning, alongside Faye Dunaway, as “elder statesmen” to younger stars like Angelina Jolie. She praised Jolie’s commitment and talent in portraying Gia Carangi. Ruehl found her role as Gia’s mother less defined in the script and biography, so she creatively developed the character, giving her a “heart-of-the-country” Minnesotan persona. Michael Cristofer, the director, and a friend from her Broadway work in “The Shadow Box,” offered her the role, encouraging her to bring depth to the character.
Ruehl recounted a memorable encounter with Faye Dunaway on the set of “Gia,” illustrating Dunaway’s demanding and dramatic persona. This anecdote serves as a quintessential “Faye Dunaway story,” highlighting her reputation for being difficult.
Post-“Gia” Career and “Hustlers”
A Sheryl Crow song, “A Change Would Do You Good,” name-dropping Mercedes Ruehl, preceded their collaboration in the film “The Minus Man.” Ruehl humorously questioned if the name-drop was simply a pun. She enjoyed working with Owen Wilson on the film, noting his surprising knowledge of Bob Dylan lyrics.
Following “The Minus Man,” Ruehl continued with roles in films like “What’s Cooking?” and various TV parts. However, a significant gap in big-screen roles occurred between 2004 and “Hustlers” in 2019. She attributed this to less effective representation and being channeled into Hallmark and Lifetime movies. Despite the shift to TV films like “Mom at Sixteen,” Ruehl maintains a sense of humor about her career trajectory and her Oscar win. She jokingly described dressing up her Oscar statue in various costumes, including a sombrero and a “winter wardrobe,” keeping it in a spare bedroom, downplaying its industry-altering impact.
Ruehl recalled Terry Gilliam’s jokingly ominous telegram after her Oscar win, forewarning about the “curse of Best Supporting Actor or Actress” and the difficulty of finding subsequent work. She acknowledged that post-Oscar, perceptions about salary expectations and her own critical stance on scripts might have contributed to fewer film opportunities. She admitted to being a “squeaky wheel” about writing quality, which may have led to a reputation for being difficult. During this period, she focused more on stage work, collaborating extensively with Edward Albee.
Mercedes Ruehl’s Oscar statue in its “winter wardrobe,” a playful representation of her down-to-earth attitude towards accolades and the fluctuating nature of a Hollywood career.
Ruehl described her stage work with Albee, including “Who’s Afraid of Virginia Woolf?,” “The Goat,” and “Occupant,” as creatively fulfilling. She acknowledged her occasional critical feedback on writing, even with Albee, but noted his eventual acknowledgment of her insightful critiques. This period of theatre work became a significant and rewarding chapter in her career as film roles became less frequent.
“Hustlers” marked Ruehl’s return to the big screen after a long absence. She credited Jennifer Lopez’s specific request for her casting. Impressed by the young writer-director Lorene Scafaria, Ruehl observed Scafaria’s firm and respectful direction on set, particularly regarding the treatment of actresses in a film with explicit content. She noted the post-Harvey Weinstein era atmosphere, where respect for women on set was strictly enforced, contrasting sharply with past experiences.
Reflections on Career Arc and Industry Change
Ruehl acknowledged the changing industry dynamics and the increased respect for women in the post-#MeToo era. While incentivized to return to film, she noted the continued scarcity of substantial roles for women as central narratives often remain focused on male-female romantic relationships. She humorously quoted a playwright’s sentiment about the “hunter” needing to “trek” for scarce opportunities. Despite these challenges, she recognized the positive shift in on-set environments.
Contrasting past experiences, Ruehl shared an anecdote from “Lost in Yonkers” where a crew member wore offensive T-shirts, highlighting the previously tolerated sexism. Her complaint, even then, led to action, but she emphasized the dramatic shift in current times, where such behavior would be immediately and strongly condemned. She noted Terry Gilliam’s controversial reaction to the #MeToo movement, illustrating the ongoing and sometimes uneven progress in achieving true gender equality in the industry.
Finally, Ruehl reflected on her career arc with the benefit of hindsight and the rise of feminism. She acknowledged both positive changes and persistent challenges for women in Hollywood. While choosing not to name specific directors who she felt disrespected women, she differentiated between those and directors like Terry Gilliam, Jonathan Demme, and Mike Nichols, whom she found consistently respectful. Her reasoning for not naming names was to avoid unnecessary conflict and to acknowledge the potential for personal growth and change over time.
In conclusion, Mercedes Ruehl’s career story is not one of “illness” in a physical sense, but rather a testament to navigating the often-unhealthy dynamics of Hollywood. Her resilience, talent, and enduring passion shine through, offering valuable insights into the industry’s evolution and the ongoing journey towards greater equity and respect for women in film.
This article is based on an interview from the Huffington Post.
