As I mentioned last week, the Paramount Vault YouTube channel features select full-length films, including Ironweed (1987), which includes a short library scene. I immediately set to watching Ironweed and taking more notes for this analysis post.
Set in 1938, the film is based on the novel by William Kennedy (who also wrote the screenplay) and features Jack Nicholson, a homeless drifter, who returns to his home town and meets up with an ex-radio singer, played by Meryl Streep, who is ill and homeless. Both Nicholson and Streep were Oscar-nominated for their lead roles in this film. It is also interested to note that Nicholson currently holds the record for most Oscar nominations for an actor, while Streep currently holds the record for most Oscar nominations for an actress, as well as the most Oscar nominations for any actor or actress, period.
The library scene occurs almost exactly halfway through the 2-hour-and-23-minute running time of the film. The interior of the library scene, according to the IMDb.com filming locations trivia, was filmed on the second floor of the Troy Public Library in Troy, New York. (See more pics and read more about the library here in this ‘All Over Albany’ post, which also links the library setting to the Ironweed film.)
Here is the info about the librarian and library scene from reel librarian researcher Martin Raish’s site Librarians in the Movie: An Annotated Filmography. Raish characterizes the librarian’s behavior in Ironweed as welcoming and nice, as evidenced in the sentence, “A librarian… very nicely, tells her she is welcome to use the library.”
This makes it seem as if the librarian, played by Bethel Leslie, is quite friendly, but a little more is revealed as you watch the remainder of the two-minute library scene.
Meryl Streep, as Helen Archer, is sleeping in the library beside the fireplace. The librarian comes over and hands her a Life magazine. She tells her, “My dear. You may stay as long as you read. I don’t allow sleeping.“
The librarian is middle-aged-to-older (her lack of makeup and dowdy clues make her seem older), with greying, marcelled hair pulled back at the nape. She is dressed in earth tones and very conservatively, in a long cardigan sweater and long tweed skirt. What appears to be a watch charm or pendant hangs on a long chain from her neck.
As Helen tries to save face by saying, “I wasn’t sleeping. I was waiting for the fire, to die there,” the librarian smiles and pats her on the shoulder. One could see that as a friendly gesture, but it could also be viewed as condescending, as well. Perhaps it is both friendly and condescending? Or perhaps just pitying?
As the librarian walks away, stepping quietly in her sensible brown heels, a smartly dressed woman looks over. She recognizes Helen and comes over, introducing herself as Nora Lawlor. The woman says she hasn’t seen Helen in twenty years and that she used to hear her on the radio but lost track. Helen says she toured abroad for several years, and Nora responds by saying how much she envies her.
As Helen gets up to leave, Nora states she has seen Helen’s brother in church last week. This is a trigger point, as this information immediately riles up Helen, who declares her brother a hypocrite. She then begins shouting that he and her mother cheated her out her inheritance. Not five seconds go by before the librarian is back and shushing Helen.
[Side note: How awesome would it be to be able to say, “I got to shush Meryl Streep in a movie!” Ah, the benefits of portraying a reel librarian. 😉 ]
The librarian again puts her hand on Helen’s arm — the same hand that patted Helen’s arm and shoulder not one minute beforehand — and this time, the gesture is not so kindly. She states firmly, “I’m sorry, but you have to leave. You’re making MUCH too much noise,” as she propels Helen toward the door.
Although a very short scene, I have classified the library scene in Ironweed in the Class III category. In my opinion, the reel librarian serves as both a Spinster Librarian and as Information Provider. It is significant that in the first part of the library scene, she states, “I don’t allow sleeping.” I, not we. She personally embodies the rules of the library, and by extension, the rules of society. And in the latter part of the library scene, the arm that gently awakened Helen out of her slumbers is the same arm that forcibly ejects her out of the library one minute later. The librarian will brook no behavior that falls outside the narrow confines of her safe and secure walls. She exhibits the uptight nature and rule-mongering of the Spinster Librarian character type, along with the conservative clothing and hairstyle. The reel librarian in Ironweed also provides information about the library to both Helen and the audience.
In the next scene, Helen is drowning her sorrows in a glass of wine, still shouting, “Thieves!” at random intervals. The immediate cut from the dark-paneled walls of a library to the dark-paneled walls of a bar is a jarring juxtaposition, to be sure; both locales serve as places of safety and security, in their own, different ways.
And no one at the bar tells Helen to leave or to be quiet.