We first meet Shirley Jackson, (Elisabeth Moss) as she sits in her living room holding court during a lively cocktail party at her home near Bennington College in Vermont. A celebrated horror novelist, she and philandering professor husband Stanley (Michael Stuhlbarg) have invited newly hired teacher Fred Nemser (Logan Lerman) and his wife Rose (Odessa Young) to stay with them while the newlyweds get used to faculty life and find their own home. Coping with the monotony of college-town social functions and politics with endless cigarettes, cocktails, and venomous wit, Shirley sees a new distraction in toying with the young couple. We learn that even the most famous authors can make the mistake of judging a book by its cover. Adapted from a novel by Susan Scarf Merrell by screenwriter Sarah Gubbins and directed by Josephine Decker, SHIRLEY is a paced drama that is rich in nuance resulting in as sumptuous a character piece as anyone could ask for.

With the circumstances set by the men in their lives, Rose and Shirley begin developing a friendship wrought from absurd moments of trust and merciless mind games. Fresh off of her success with the novel The Lottery, Shirley is as tantalizing as any prospective new friend for Rose and the games are on. From the outset, we know that Rose is no normal submissive wife to her pedagogue and that Shirley will have a few things to discover. The two women build a bond despite the sometimes rocky moments in the home. It becomes apparent that Shirley soon might have awakened something in Rose that even she didn’t expect.

This is a movie about two women. One who has hit the perceived glass ceiling in patriarchal mid-century life and the other who is still optimistically searching for greater clarity and understanding. Young is incredible as Rose. Bright-eyed, yet with a rebellious undercurrent, her face telegraphs to the viewer a lot more than what her character is delivering in a scene. Moss once again proves her fundamental ability to own a character. Brimming with a volatile intensity, Moss gives Shirley Jackson a layered mood that is equal parts anger, apathy, and ferocity. We get two very powerful actors that are finely tuned and in harmony with the material and direction that they are working with.

I think that what most impressed me was the way that SHIRLEY portrayed the women as being both powerful and relegated. Gubbins’ script paired with Decker’s nuanced direction shows this world within a world without becoming stereotypical. It’s a balancing act that only occasionally falters. Still, the material would be nothing without the fine cast. Aside from the solid performances by Moss and Young, credit must be given to Stuhlbarg for his smarmy, wince-inducing performance as Stanely. Condescending yet loving, there is a nice balance that he strikes in the character that indicates he still loves his wife, while simultaneously hating her for being smart enough to peg him on his “secret” vices.

SHIRLEY is a richly developed portrayal of one of horror’s most celebrated authors. It is a carefully constructed drama that dives into the creative female force and gives it the respect that it sorely deserves.

RATING 8 out of 10