During an interview in 1986, young film director Penny Marshall revealed why she had been so reluctant to step behind the camera. “I need an enormous amount of encouragement to do anything, even to go out to dinner.” Unlike most other famous filmmakers, the director was known for refusing to publish her work or engage in self-promotion. This aspect of her personality may have led to her being underestimated by the film industry despite her exceptional talent as an actress and director. However, it has also allowed her work to endure over time and offer a more understandable perspective on the allure and magic of Hollywood. On the 35th anniversary of her classic film, Big, it’s time to celebrate the talent and contributions of this remarkable woman, unfairly overlooked in her day.
Marshall passed away in 2018 due to health issues and will not be there as Greta Gerwig’s Barbie breaks box office records. But Gerwig’s triumph sparks renewed interest in the first female director to make commercially successful hits. People see parallels in the relationship dynamics of the baseball players in Marshall’s A League of Their Own and the women in Barbie. Or in the mannerisms of Tom Hanks’ character in Big and Ryan Gosling’s “Ken.” Marshall became the first woman to direct a movie (Big) that grossed $100 million at the box office, and she had another hit with A League of Their Own. Meanwhile, she became only the second woman to receive a Best Picture nomination for Awakenings.
Penny Marshall at the Saturday Night Live 40th Anniversary Celebration; February 15, 2015; New York City.D Dipasupil (FilmMagic)
Although her illustrious and groundbreaking career makes her an undisputed feminist icon in the world of cinema, Marshall never wanted to be labeled as such and was particularly irritated by critics who labeled her films as “women’s films”. “A League of Their Own,” about a women’s baseball league that entertained fans while most male pro players were fighting in World War II, was unanimously acclaimed for highlighting how women have struggled to make ends meet in a historically patriarchal world to conquer a place. However, Marshall felt the film’s theme was universal, saying, “It’s about why we shouldn’t hide our talents. It’s an issue that affects men and women equally.”
Although she has directed several memorable and popular comedies throughout her career, the filmmaker’s last film was released 17 years before her death. The disappointment at the box office of Riding in Cars with Boys following the September 11 attacks marked the end of her career as a director. The industry reverted fully to lucrative action franchises, leaving behind the mid-budget productions that had defined Marshall’s filmography. “I don’t do horror. I don’t do vampires. I don’t do car crashes and I don’t do people in big metal suits and that’s what sells abroad… I tell stories,” she told Fox. Film critic Kevin Fallon calls them the clearest example of what Hollywood calls what it calls “film prison” — professional marginalization after a film that did poorly at the box office. In a male-dominated industry like the film industry, women tend to be more affected than men. Directors like Mimi Leder (Deep Impact) and Kimberly Peirce (Boys Don’t Cry) have had the experience of ending up in film prison. “When a woman makes a mistake, it sticks in her memory. But when a man makes a mistake, it’s often easier to forget,” Peirce said.
Geena Davis in a scene from Penny Marshall’s A League of Their Own.
Marshall seemed to shrug off the double standard and focused on what she enjoyed doing: directing television series and pursuing her greatest passion, basketball. She was a Los Angeles Lakers fan and often sat next to Jack Nicholson on the sidelines. When she died at the age of 75, she left behind an unfinished documentary about controversial pro basketball player Dennis Rodman. Fun, intelligent, easygoing and without any pretense were the words friends used to describe her. Unconcerned about leaving a legacy, she described her directing career as an “accident,” citing her debut on Jumpin’ Jack Flash, starring Whoopi Goldberg. “They called me — I didn’t knock on their door,” she said in a 2012 interview. Goldberg had specifically asked Marshall to replace original director Howard Zieff, who had just been fired for underground shooting.
Marshall, a native of New York, enrolled at the University of New Mexico but dropped out at age 20 when she became pregnant with their daughter, Tracy. She married Tracy’s father, football player Michael Henry, but the marriage lasted only a few years. She later married actor/director Rob Reiner and moved to Los Angeles to be closer to her brother Garry, a screenwriter. Garry later directed unforgettable films such as Pretty Woman.
Marshall became a familiar face on television in the hit comedy Laverne & Shirley.
After appearing in several TV commercials, Marshall got his break in the 1970s sitcom Laverne & Shirley, which aired on ABC for eight seasons. The show revolved around the romantic misadventures of two roommates and co-workers in 1950s Wisconsin. The groundbreaking series didn’t feature two female leads, but it also defended the gender stereotypes of the time. Both were single women who practiced traditionally male jobs in a beer factory. “We’ll make it / Give us every chance, we’ll take it / Read every rule, we’ll break it / We’ll make our dreams come true / We’ll do it our way,” read the opening lyrics of the show’s theme song .
Marshall became a star due to her comedic timing and distinctively nasal voice. She has had romantic relationships with celebrities such as Art Garfunkel and developed a lifelong friendship with Carrie Fisher. Marshall eventually got the opportunity to direct episodes of Laverne & Shirley, but it was years before she responded to Hollywood’s siren song. All she wanted was to make sure the audience had a great time. “I want you to laugh and cry,” she said. “That’s what I do.”
From left: actors Jack Klugman, Penny Marshall and Cindy Williams at the ceremony honoring Marshall with a star on the Hollywood Walk of Fame; August 12, 2004. Vince Bucci (Getty Images)
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