I recently snagged a copy of Tippi: A Memoir at Barnes & Noble. I was curious, because of the whole Hitchcock thing and the fact that she’s Melanie Griffith’s mom. The back cover has what is presumably a publicity shot from The Birds that also plays a pivotal moment in the film, along with a titillating quote that makes you think you may be getting something along the lines of a real-life Evelyn Hugo.
But Hedren is no Taylor Jenkins-Reid.
This book is not well-written. Hedren’s memoir focuses the majority of its’ time and energy on the large cats that she devoted much of her life to, glossing over the glamorous, refusing to notice the inconsistencies, and proving without a doubt that Tippi Hedren is one of the craziest bitches you will ever (probably not actually) meet. In a way, the craziness of her book, which seems as poorly edited as Twilight, is kind of fascinating. As is the fact that her book manages to be boring while being filled with one of the most interesting lives I have ever encountered. I present this book as exhibit 1 in my argument that interesting/unique plot alone is not sufficient.
Tippi Hedren has lived a live of immense privilege. Although she writes repeatedly about how self-sufficient she is, and always has been, she was scouted to be a model at, like, 13 years old or something, a career she continued when she left her parents with the intent to support herself. In other words, people paid her enough to live off of for the privilege of looking at her at the beginning of her adult life. Modeling has its’ own unique challenges, I am sure, although the closest I have come to exposure to it is America’s Next Top Model, which is probably not very accurate. But the fact remains that most people are not given enough money to travel the world, and live off of savings in a huge rental in Beverly Hills for several months at their first job. And at 13, Tippi was scouted because her genetics made other people go: “Damn! That girl’s pretty. I want to, like, take care of her and stare at her forever.”
Then, Tippi got older, and men suck, so she entered into a relationship with her first husband Peter Griffith, which she doesn’t talk about much except to say they were way too young to be married and she cannot regret it because her daughter Melanie came out of it. Tippi describes Melanie repeatedly as the “love of her life,” which would probably mean more if the sentences that flow forth from her pen describing her husbands and ex-fiance weren’t quite so bitter. When Tippi is 13, she’s getting offered money by random people she’s never met because she’s so beautiful they want to help her start a career. When Melanie Griffith is 13, her mother’s beginning to become obsessed with lions and letting one live in their house, and asking her what she [i.e., Melanie] did wrong when the lion bites her leg in the middle of the night.
Tippi Hedren can take care of herself, thank you very much, which is why she glances over all the Hitchcock stuff that is probably why, like, 70% or more people buy the book, except to say that she was lucky he and his wife taught her how to become an actress, but yeah, being the object of Hitch’s obsession was super creepy, and also, everyone else saw it and no one did anything about it. One scene that sticks out is one where the very un-self aware Hedren talks about waiting at an elevator when Alma Hitchcock walks up and says she is so sorry Tippi has to go through the craziness that is her husband. Tippi responds that Alma could “stop it. You’re the only one who could.” First of all, Tippi is assuming that the man who is treating her horribly is not also a monster to his wife behind closed doors. Second, Tippi is assuming that Alma can stop a grown man from doing whatever the hell he wants to do when public propriety wasn’t doing shit. Third, if this instance is not Tippi expecting someone else to jump in and save her, I don’t know what is. (To be clear, I am 100% not blaming Tippi for the shit that director put her through. Hitchcock was obviously a creep who was obsessed and thought, like too many men do, that because he was obsessed and willing to do things to prove his obsession, the object of his desires was required to love him. In reality, he didn’t love her, though he probably thought he did. I can also understand why Tippi felt that she had to stay under Hitch’s thumb; she was under contract, she was living in L.A., shit is expensive, and this job was the only way she was aware of that would allow her to pay the bills. I just don’t think it’s fair to assume that Alma was in a position to stop her husband, a husband known for being a master manipulator of cinema, during a time period when women were at a decided disadvantage.)
Also, when the shoe is on the other foot, when Tippi finds out that a man she is working with on a movie is having an intimate relationship with her 15-year-old daughter, she doesn’t feel like she can put her foot down because she’s worried her 15-year-old daughter might never speak to her again. In other words, Tippi doesn’t feel empowered enough to parent her teenage daughter who is in an illegal relationship with an adult creep committing statutory rape, but Alma Hitchcock was supposed to stop a much more powerful adult creep from being a creep. Based on what I know of the Hitchcock stalking, I think Alma and Tippi are both lucky the bastard didn’t kill them and bury their bodies out in the desert.
To recap, Tippi glances past the relevant gross and unacceptable behavior of a famous male director that was widely accepted, barely acknowledges her privilege, and gives enough information about her lack of parenting to make anyone with a heart feel for poor Melanie Griffith. So what does she spend most of her 267 pages on? Lions. Bitch is crazy about the huge, deadly things.
While on set for a movie in Africa, Tippi and the dude she married to try to escape from Hitch or something go on a safari and see a house filled with lions. The majesty and beauty overwhelms them, and since they’re both from Hollywood, they immediately decide they must make a movie about it. They begin doing their due diligence, and all of the trainers they talk to about their idea is like, “Nah. That’s a really bad idea. You should not do that.” But they decide to do it anyway. They begin interacting with lions, asking a trainer to bring an adult lion over to the house so they can get used to it, allowing the huge, deadly beast around their 3 children, because #parenting. They begin to acquire cubs, lions, then some tigers, then more lions, an elephant, kind of anything that is wild that needs a home. Because not only do they want to make a movie, they want to make a movie with at least 40 lions, guys. This ill-advised and deadly part of the dream is very important.
Tippi goes into excruciating detail about the journey they go on with these lions, guys, but long story short, the producers don’t want to fund it, the trainers who work with lions think it’s a bad idea, and the family and cast members once they start shooting the damn thing have to go to the hospital so routinely due to injuries that they pretty much have a doctor on call.
Amusing for all the wrong reasons, I would only recommend Tippi’s memoir if you really, really, really, really, really, really, really like lions.