The Year of Joan Hackett
I love Joan Hackett. She was a singular actor. I embarked on the Year of Joan Hackett in a bid to complete her filmography.
I love Joan Hackett. She was a singular actor. Onscreen, she had the best and the biggest energy. She was sweet and savory. She was inimitable. She had an instantly recognizable voice and the hair of a turn of the century Gibson Girl. She could make you cackle with laughter or break your heart into tiny splinters. She was explosive and tender. She was overwhelming and gentle. Like the best of our immortalized actors, watching her onscreen is like spending time with a dear old friend.
In January, I was watching her in The Last of Sheila (1973) for the first time (I know! I know! A film made entirely for me that I somehow had not seen age fifteen late on a Friday night with a library DVD). I was thinking about how much I adore her work, and how much I actually hadn’t seen of her short career.
I embarked on the Year of Joan Hackett in a bid to complete her filmography. This is something I successfully did in 2023 with Sandra Dee (and never got around to writing about, naturally), and attempted and failed in 2024 with Audrey Hepburn (so close; I will circle back around to the Lady Hepburn). I am using Letterboxd’s version of her filmography (via TMDb) as it limits her work to feature films and television movies: 31 titles versus the 69 credits on IMDb (this still leaves me so many delicious 1960s and 1970s TV episodes to enjoy at my leisure).
The dark winter months were very successful and I watched many new-to-me Hacketts. I have admittedly fallen off since the summer, but, as the days grow shorter, my appetite for spending time inside laying about on my couch increases.
I have decided to chronicle My Year of Joan Hackett here, and update until I am completed. I have been keeping a ranking of Joan Hackett, and I must say that is purely based on some indescribable Hackettness that I am personally determining and nothing else. Does the film give me the hit of Hackett that I crave? Does Joan get to say or do something wild or chaotic or emotively tender? Is she brittle or is she full of life? The Hackett variations are myriad.
Joan Hackett Filmography
Joan Hackett Ranked
Support Your Local Sheriff! (1969)
Joan Hackett as Prudy Perkins was foundational for me, and I still love to rewatch. I never grow tired of her weirdo performance. All awkward limbs and deep, abiding rage. When she yells, “Death to all tyrants!” and tries to chain herself to a support beam at the city council meeting and they all respond like she has done this many times—perfection! Her chemistry with James Garner is so unbearably generous and fun.
2. Five Desperate Women (1971)
I first watched this eight years ago, and I was obsessed. Truly the stuff the TV movie dreams are made of. A perfect cast from top to bottom, but Joan Hackett still stands out as she spends her entire run-time lying profusely to everyone around her while wearing all manner of elegant fashion before breaking down and admitting she has a TV in every room playing constantly so she won't be reminded she's ALONEEEEE. There is nothing better than Joan Hackett amidst a group of women. You can watch on YouTube here.
3. The Last of Sheila (1973)
As mentioned above, this was a 2025 new-to-me film, and it quickly jumped into the top echelon of Hackettness. She is so good and vulnerable and brittle but with a very sharp edge. She plays everything just right. SPOILER IN WHITE TEXT (HIGHLIGHT TO VIEW): Based on her performance, I genuinely thought that she was one who belonged to the “You are a Homosexual” card, and that she was having an affair with Raquel Welch. THE SIGNS WERE ALL THERE (IN MY HEAD LOL). END SPOILER.
4. The Young Country (1970)
Okay, so this isn’t very good (and was remarkably hard to find to watch), but I do love visiting the wacky mind of Roy Huggins. The unfortunate thing is that he was always trying to make Roger Davis happen as one of his charming rapscallions, and well the man was full of menace onscreen! (He played the only man that Kid Curry ever killed!) He is somehow the lead here instead of Pete Duel who plays a supporting role (this all got sorted out when Alias Smith and Jones premiered the next year). None of this touches Joan Hackett though with her signature hair poof and the driest, smirkiest delivery. Perfection. I have probably ranked it too high, but it’s just such potent synthesized Hackettness. Joan Hackett + Pete Duel is also the smoothest delight. They have wonderful chemistry and their scenes together are the best in the movie. (I have also cheated here and added a photo to the slideshow from her guest appearance on Alias Smith and Jones, because she is just a perfect third with boys).
5. Reflections of Murder (1974)
The girlfriends are plotting murder on an unnamed island off of Seattle, and we are having a great time! Joan Hackett was the queen of full-bodied vulnerability, and she ably portrays a journey into hysteria. I loved her chemistry with Tuesday Weld. And, here, she also demonstrates her skill with acting alongside children. She always has a true sweetness and gentleness in that regard. Watch on YouTube here.
6. Rebecca (1962)
A truly short (sub-hour) live television adaptation of Rebecca (notably adapting the 1940 film, and not the novel), but oh my, she is so good as the Second Mrs. de Winter. I would have loved her in a full adaptation. She has that exact right combination of nervousness and steeliness and freshness. This one is somewhat of a rarity and I had to rent on VHS from my local video store.
7. The Other Man (1970)
Isolated house on the rainy northern Pacific Coast! Melodrama! Joan Hackett doing her greatest hits! This is a really strong Hackett performance. The edgy vulnerability. The gentleness that can explode when provoked by cruelty. The fight between staying safe (internalizing emotions) and being authentic (emotions out loud). She is the star here, and works well with Roy Thinnes.
8. The Group (1966)
A wonderful cast of women makes up the group, and there is not an underwhelming performance in the bunch. However, obviously, I am Hackett-biased, and I think she brings a very lovely and very Hackett brittleness here. She stands out even among all the great actors around her. She also just looks so good in a 1930s haircut and dress.
9. Mourning Becomes Electra (1978)
Rotten children!
I suppose one must blame the rotten parents!
But, oh the delicacy that Joan Hackett unspools in her portrayal of Mother Mannon! She gave such depth of pain and quiet suffering. You could feel when Christine felt out-of-control. I was rooting for her.
One murder would have actually been great for the Mannons. A good foundation for everyone to grow from.
But rotten children!
10. Assignment to Kill (1968)
Joan Hackett so cute and charming in this! I love her flippy hair and slacks and ties. I love her eye rolling and quipping. Alas, however, she is not the lead of the film, so we do not get to spend every minute of screentime with her present. It would have been a better film if that was the case. When her character departs the film, so does all my interest. This is a really fun role to see her in, and I will pretend she left that boring man and safely continued her quipping in slacks and ties for the rest of her days.
11. Will Penny (1967)
The final Hackett in my year of Joan Hackett, viewed on December 31st. It was an apt final film as it contains so many elements of Hackett Greatness. She is warm, tender, outspoken. She has great hair. She brings out the best in the child performer playing her son. She is so very loveable.
Here, she is even manages to humanize Charlton Heston, which was shocking to me personally. She also shifts with ease to blend with the chaos when Donald Pleasence and sons (Bruce Dern!!!) descend upon the film.
12. Only When I Laugh (1981)
I am simple and I love watching charismatic actresses spout Neil Simon dialogue. Joan Hackett's only Oscar nomination. She should have won. She really is playing a perfectly distilled version of a Joan Hackett character. She’s strong and falling apart at the same time, and so wonderfully loveable.
13. How Awful About Alan (1970)
It would have been entirely easy for this film to have cast Julie Harris and Anthony Perkins as sensitive, awkward freak siblings and called it a day (I would have still watched that film) without bothering to cast anybody good in the role of the patient and supportive fiancé. Thankfully, they cast Joan Hackett. She's darling here, and does some of her inimitable work managing to imbue goodness with such shape and substance. (A true Pisces, I suppose.)
14. The Possessed (1977)
Don’t ask me any questions, but yes, I would love to go to Joan Hackett's School for Girls! This is the absolute pinnacle of Joan Hackett stressed-out acting—she reaches spontaneous combustion levels of work-based anxiety (whom among us cannot relate). This is a performance that really shows how she can hit every big and small beat so perfectly.
15. The Terminal Man (1974)
Joan Hackett such a competent presence, and although there were some attempts at weighty philosophizing in this film, I was--shallowly--mostly obsessed with her pristine monochrome outfits and perfectly styled short hair. (Slicked back shower look was truly a dream.)
16. The Treasure of Matecumbe (1976)
A deeply questionable film that cannot be recommended. Joan Hackett does however have poofy hair, a wild accent, a job running scams, and a gentle aunt energy with the child leads.
17. Dead of Night (1977)
TERRIFYING. I am not equipped for this kind of imagery. Oh, she is so good here as a mother who is losing her mind with grief and maybe also whoops summoning demons? Many actors talk about how it can be hard to act opposite children, but Joan Hackett worked with children many times and always has such a perfect energy match to them.
18. Pleasure Cove (1979)
A nothing of a TV movie, but she is so delightful as one-half of a pair of battling exes who show up at the same resort. She is a professor leading along a young dummy of a boyfriend, and generally being her caustic best. She is simply too much fun and I love her big hair and track suit.
19. The Escape Artist (1982)
I find it singularly painful to watch films starring the O'Neal children. Vulnerable children with no advocate; no safe adult. This one has a distinct sadness as Griffin O'Neal's character spends the film trying to cope with the enigma of his father's death and the confusion and grief of that loss. However, Joan Hackett knows how to work with children, and she is really lovely here in one of the final roles. Her interactions with Griffin sing with such a gentleness and genuine sweetness.
20. The Long Summer of George Adams (1982)
A Joan Hackett + James Garner reunion! Their chemistry so exactly right thirteen years after Support Your Local Sheriff! This was one of Hackett's final performances, and her energy is the heartbeat to this story. (I do not forgive Garner’s character for his betrayal though!)
21. Paper Dolls (1982)
A Joan Hackett v. Joan Collins Joan-Off! A small supporting performance from Hackett, but she is fun as a demanding stage-mom of her teen model daughter. She is all business with a slicked back pony.
22. The Long Days of Summer (1980)
Joan Hackett is strictly playing Mom. But she really is so good, and I have come to realize over this year of Hackett that she works exceptionally well with children!
23. One Trick Pony (1980)
Joan Hackett is a minor character in this film, so she does not have much to do. She does get to appear wise and wry and also looks great as a sleek blonde. She is the smartest one in the movie and I would have loved to watch her movie.
24. The American Woman: Portraits of Courage (1976)
When I say Joan Hackett completism, I mean COMPLETISM. This is a fascinating artifact of 1976. She plays Belva Lockwood, lawyer/politician, for one scene recounting a story about defending a woman in court against her husband. Not a lot to say here, but I do think that Joan Hackett always looks incredible with poofy late 1800s hair and she does have such gravitas. A natural pick for the role.
25. Class of ‘63 (1973)
A TV movie with so many unfulfilled plot-lines, I wondered if the version I saw was edited? Anyway, my only feeling after watching it was: Joan Hackett, a queen! Leave both that short loser and that tall loser behind. Live your life!
26. Mackintosh and T.J. (1975)
This film is bleak as hell. Joan Hackett typically wonderful in a limited role. She plays vulnerability with such warmth and clarity.
27. Stonestreet: Who Killed the Centerfold Model? (1977)
One thing that simply was not utilized enough in Joan Hackett’s career was casting her as a villain. She really is fun here as a sinister lady with giant glasses doing evil business things from behind a phone. Watch on YouTube here.
28. Flicks (1983)
I believe this was her final released performance. Her parody vignette as a spaceship commander ala Star Trek is somewhat painfully unfunny, but not her. She is just a delight. Imagine the dream of her playing this role in a serious production.
29. Mr. Mike’s Mondo Video (1979)
Watched for Joan Hackett and she has a 5 second voice-only cameo 30 min in. *sigh*
I tapped out after that.
Unranked: Rivals (1972)
Started, but did not finish when I realized it was not a film I wanted to see. My friend Hannah Lynch explains the film in detail here. Films can be made about exploitation of children without exploiting child actors, but that does not appear to be the case with this film.
Joan Hackett in Progress
Lights Out (1972)*
*Turns out this is a lost film. Every mention I can find online from people who have seen it watched its original airing and have never forgotten how scared it made them. Seems like the only way to see it is in-person at Paley Media, so just let me add that to my list.
Playlist of Films Available on YouTube:
-Meg
Ride in the Whirlwind (1966): the people demand more Harry Dean Stanton!
Ride in the Whirlwind // dir. Monte Hellman // United States
Ride in the Whirlwind // dir. Monte Hellman // United States
ooh buddy. Continuing on with my 1966 series, I decided to check out this western (there is another 1966 western that lives inside my brain that will be subject to an extensive post at some point: Duel at Diablo).
I was not expecting
a) to be truly moved by it
b) to be actually impressed by my nemesis Jack Nicholson
c) to find my fall 2020 fashion inspo!
Yet, here we are and 2020 gives me one more shocker. Let’s start with point c.
Harry Dean Stanton’s look, minus the guns it must be said, are absolute goals: scuffed boots, striped trousers, white button up, slouchy vest, jaunty bandana on the neck, and—crucially—eyepatch! (the hat may be a step too far for me to pull off sadly)
Everyone looks cool in an eyepatch: Bret from Flight of the Conchords, Snake Plissken, Rosamund Pike in that biopic I have in my watchlist because Rosamund Pike has an eyepatch in it…
That is the kind of low upkeep/high impact look I am in the mood for this season. Harry Dean, we STANton! (I’d show myself out, but this is my blog. Sorry.)
For real, I love Harry Dean Stanton and the chaotic energy he brings to every piece. I love him in the same way I love the prince of the darting eyes and villainous 1960s tv guest spots—Bruce Dern. <3
Watching HDS brought back a fun memory of visiting the Velveteria in LA’s Chinatown last year with a pal. An entire “museum” dedicated to velvet paintings, and Harry Dean Stanton had his own little corner.
I would also like to give a style shout-out to Millie Perkins’ relatable eyebrows.
And, now for a short excursion to point B, I was genuinely fine with Jack Nicholson in this film he wrote and produced as well as starred in. That was entirely unexpected from me, and honestly, maybe he could have quit here while he was ahead? No need to disturb a generation with the injustice of Something’s Gotta Give (2003).
In this film, his Wes had little to say, but was still the character most invested in having a life and being human.
^a quiet moment of all-too-human grief that hit perfectly
Ride in the Whirlwind has a spare, austere, empty quality that works a charm at taking the absolute air out of western cowboy mythic cinema. It very nearly plays as a Twilight Zone-esque existential horror. Perhaps it is too slow, too inactive to get there, but it is certainly concerned with the existential.
The western cowboy myth relies on the denial of genocide. The refashioning of conquest as a noble fight. Destruction as romantic adventure.
Westerns are the American fairy tales: they have form, convention, and style that can reach the height of cinematic aesthetic pleasure. Westerns make up some of the most aesthetically satisfying films. The style can be so strong it holds back any questions about truth and reality.
Time and existence is narrowed to right and wrong / good and evil, and there is a purpose for each person in the myth (even if that purpose is just to die as third henchman bank robber).
What Ride in the Whirlwind does is pull us out of that that systematic and set convention, and ask the question, “What if there is no point?”
I was struck by how much pointless death there was in this film, and it’s honestly not a high body count western. Nor, are we in basically any way given reason to empathize or care about most of the characters who die. But the feeling of futility just hangs there the entire runtime.
The truth of this culture and society built on genocide is corrupted and listless humans.
Everyone in the film is going through the motions of life. Sure, everyone fights to survive and outlive their opponents, but it seems a fight just to continue existing—there is no actual desire or spark or purpose.
Wes and his two companions are mistaken as thieves and pursued, because of a citizens justice vigilante gang (chilling!!!)that only exists to find and kill methodically all who have wronged “society.” The actual thieves are thieves because it is how they exist and survive in society. There’s no grand plan here.
The settler cabin Wes and Vern (Cameron Mitchell) take refuge in is occupied by a man, a woman, and their teen daughter. None of them have a single spark of life between them. The man hacks endlessly away at a stump in the yard, stopping only when his daughter comes out to prepare his wash basin and call him into the meal his wife has prepared. All three living in endless patterns of motions.
Wes asks Abigail her age, and her response is devoid of anything.
They are just three more ghosts living in a world with no value for humans, or anything else. Humanity was lost when a world was built on active genocide and bloodshed and destruction, and then the denial—first that it was wrong, and then that it happened.
The one incongruous note in this all is Wes. He doesn’t have purpose or direction, but he is stubbornly connected to the tangible. He complains about being tired, he complains about blisters, he complains about being weak, he complains about being hungry, he complains about being bored, and he complains about being sad. It gets almost annoying, and the other characters react in as much bewilderment as they can muster in their apathy. Why does Wes care about blisters on his feet? Why does it matter?
Wes’ restlessness holed up in the cabin for mere hours is fascinating, and honestly all-too-familiar to those of us who have been primarily confined to our homes for months and months now.
I have been unemployed for a couple of months now, and Wes’ unease about inactivity hits real well. I am 26, and I had previously been actively employed since I was 13 years old. In our society, production is the point. And, being removed from productivity removes a sense of purpose—removes my pattern of motions.
To actually and fully break with the motions is to claim dignity and humanity and community. People over product. To acknowledge and remove the evil, corrupted foundations of society and radically build new ways. I hope we get there.
I also wanted to note for this film, that a Black man is lynched (alongside a white man), and that is a moment of historically, violent imagery that is included here somewhat perfunctorily in the same fashion as the rest of the inhumane, listless violence. The lynching has much higher levels of white supremacist/racist contexts that are not explored in this film at all (except through whatever the viewer brings to it). There should be purpose to including such a scene of particular violence, and I do not think this film hit that mark at all.
-Meg
Harry Dean Stanton and Rupert Crosse love to stay safe wearing their masks in public! <3