Mercedes Ruehl burst onto the scene in 1988’s “Married to the Mob,” a vibrant force with unforgettable style and presence. While she had early roles in notable films, this marked her true arrival, hailed as a promising newcomer. Her career trajectory, however, reveals a more complex narrative, one that reflects the often-unspoken “illnesses” within Hollywood itself – ageism, sexism, and the fleeting nature of fame.
Ruehl’s talent quickly solidified her status, culminating in an Oscar for her role in “The Fisher King” (1991). At 44, she achieved peak recognition, yet this triumph ironically preceded a decline in big-screen opportunities. She humorously refers to the “Best Supporting Actress curse,” noting the industry’s tendency to sideline actresses post-Oscar win. “It’s hard to get a job after that,” she explained, highlighting the misconception that success equates to inflated salary demands. While remaining a Broadway mainstay, Hollywood’s interest waned, revealing an industry “ill” with a limited view of women’s roles beyond a certain age.
Mercedes Ruehl in 1984.Aaron Rapoport via Getty Images
This stark reality underscores a troubling aspect of the film industry. Despite her undeniable talent and captivating screen presence, Ruehl experienced a significant gap in theatrical film roles from 2004 to 2019, only returning with “Hustlers.” Her career sustenance came from theater, television, and acting seminars, illustrating how Hollywood’s “illness” of age bias can push seasoned actresses towards alternative avenues to practice their craft. Aging, rather than experience, became a professional barrier, a symptom of an industry often favoring youth over depth.
Reflecting on her career arc, Ruehl shared insights into key projects like “Another You,” “Last Action Hero,” “Lost in Yonkers,” and “Gia.” Currently quarantining in the Hamptons, she spoke candidly about her breakthrough, the industry’s treatment of women, experiences with challenging male figures, the shift in the Me Too era, and collaborations with iconic actors.
Early Encounters with Hollywood’s Complexities: “Heartburn”
Her first significant movie role came with “Heartburn,” a Mike Nichols film penned by Nora Ephron and starring Meryl Streep and Jack Nicholson. The audition itself was a memorable introduction to the industry’s dynamics. Meeting Nichols at the Carlyle Hotel, she recalled his “mensch” demeanor, putting her at ease. After auditioning for several small parts, Nichols’ generous offer to choose her preferred role showcased a collaborative spirit. Her playful suggestion to play multiple roles with different wigs was met with amusement, highlighting the early stages of her career where she was already demonstrating her creativity and eagerness.
Navigating Typecasting After “Married to the Mob”
Following “Heartburn,” roles in “Radio Days,” “The Secret of My Success,” and “Big” preceded her breakthrough in “Married to the Mob.” It was this role that shifted her perception of her career trajectory. Before, she felt confined to “small-character-part division,” despite substantial theater experience. A role in Albert Innaurato’s “Coming of Age in Soho” at the Public Theater was a turning point, revitalizing her career when she was on the verge of giving up. This period underscores the unpredictable nature of the industry, where a single role can alter an actor’s path.
Mercedes Ruehl in “Married to the Mob.”Orion Pictures
However, typecasting loomed. A casting director’s comment that she was best suited for “best-friend roles” hinted at industry limitations based on perceived “weight,” “gravity,” or “beauty” needed for leading roles. Ruehl’s “insane belief” in herself pushed back against this restrictive view. Landing “Married to the Mob” was almost jeopardized by her own anxieties and a self-described “self-destructive thing.” A dramatic hair transformation and a poison ivy incident nearly cost her the role, requiring intervention from her agent and producer to salvage the opportunity, revealing the high stakes and pressures within the industry.
“Another You” and Encounters with Legends
Later, in “Another You,” Ruehl worked with Richard Pryor and Gene Wilder in their later screen roles. She felt a closer connection to Pryor, who was battling multiple sclerosis at the time. Visiting him post-filming, she witnessed his generosity, kindness, and humor juxtaposed with his fragility. The film’s production was turbulent, with director Peter Bogdanovich being replaced amidst personal and professional challenges, reflecting the behind-the-scenes complexities that can plague even star-studded projects.
“The Fisher King” and the Surreal Dream
“The Fisher King” stood out as a role Ruehl deeply desired, a direct challenge to the typecasting she had faced. The set atmosphere contrasted sharply with “Another You.” Richard LaGravenese’s solid script and Terry Gilliam’s directorial vision created a more structured environment. While Robin Williams’ improvisational energy was present, Gilliam kept it focused, resulting in a balanced and creatively fulfilling experience. The 12-hour night shoot in the Chinese restaurant, filled with Williams’ non-stop humor, remains a career highlight, a “dream” amidst the industry’s often harsh realities.
Robin Williams, Mercedes Ruehl, Jeff Bridges and Amanda Plummer in “The Fisher King.”Mondadori Portfolio via Getty Images
Fighting for Roles and “Lost in Yonkers”
Ruehl acknowledged being typecast as a “tough-talking New Yorker,” despite her diverse theater roles. While understanding the roles she was offered were significant (“Married to the Mob,” “Fisher King”), she recognized the industry’s tendency to categorize actors. She actively fought for roles, particularly after missing out on the film adaptation of “Other People’s Money,” a role she originated on stage. Choosing the Broadway version of “Lost in Yonkers” proved to be a wiser career move, though the film adaptation’s underperformance highlighted the challenges of translating Neil Simon’s plays to screen and the limitations of Hollywood’s understanding of New York stories.
Working with Schwarzenegger in “Last Action Hero”
Arnold Schwarzenegger specifically sought Ruehl for “Last Action Hero,” a pleasant and humorous experience, though not a deeply memorable role for her. Meeting Schwarzenegger prior to filming at a Kennedy family gathering, she was struck by his kindness and genuine appreciation for her work, recounting how he made her feel valued and saved her from feeling out of place, showcasing unexpected moments of connection in the often-superficial Hollywood landscape.
Hollywood’s “Virus” and Unequal Power Dynamics
In a 1995 interview, Ruehl described Hollywood’s “virus” – its unreal nature and the unequal power dynamics, especially for women. Even in the mid-90s, the unfair treatment of women was evident, yet change was slow due to the entrenched power structures. Ruehl, never an “ingenue,” observed Hollywood’s limited interest in women past a certain age. She recounted early career encounters with “unacceptable” behavior from producers and directors, though not on the scale of figures like Harvey Weinstein. The industry’s focus on youth and superficiality (“Jaguars and Armani jackets and power lunches”) contrasted with her artistic values. An anecdote about her agent urging her to leave her own opening-night party at a certain time perfectly illustrates the performative and image-obsessed nature of Hollywood.
Elizabeth Mitchell, Angelina Jolie and Mercedes Ruehl in “Gia.”HBO
“Gia” and Shifting Industry Perceptions
“Gia,” filmed six years post-Oscar win, positioned Ruehl and Faye Dunaway as veteran figures alongside younger stars like Angelina Jolie. Working with Jolie, then 21, was a positive experience, impressed by her commitment to portraying Gia Carangi’s tragic life. Ruehl creatively developed her character, Gia’s mother, giving her a “heart-of-the-country” persona to add depth to a role initially lacking dimension. Her encounter with Faye Dunaway, marked by Dunaway’s demanding behavior in the makeup trailer, became a quintessential “difficult Faye Dunaway” story, a rite of passage in Hollywood lore.
Post-“Gia” Career and “The Minus Man”
A Sheryl Crow song, “A Change Would Do You Good,” name-dropping Ruehl, preceded their collaboration in “The Minus Man” with Owen Wilson. Wilson’s encyclopedic knowledge of Bob Dylan lyrics was a unique aspect of that project. However, after this period, Ruehl’s big-screen roles became scarce, primarily TV parts and “Hallmark Hall of Fame movies and Lifetime movies,” reflecting a career trajectory often experienced by actresses as they age in Hollywood.
Oscar’s “Winter Wardrobe” and Career Realities
Ruehl’s Oscar, humorously dressed in various costumes, resides in a spare bedroom, a testament to the award’s complex significance. While the “Oscar and Tony winner” title carries prestige, it didn’t guarantee sustained film work. Terry Gilliam’s telegram, joking about the “curse of Best Supporting Actress,” proved somewhat prescient. Ruehl believes her critical approach to writing in offered roles contributed to a “difficult” reputation, impacting her film opportunities. This period saw her shift focus to theater, working extensively with Edward Albee, finding artistic fulfillment on stage when film roles diminished.
Mercedes Ruehl’s Oscar in its “winter wardrobe.”Courtesy of Mercedes Ruehl
“Hustlers” and a Changed Hollywood Landscape
“Hustlers” marked Ruehl’s return to theatrical film after a 15-year gap. Jennifer Lopez’s specific request for Ruehl led to this role. Working with young writer-director Lorene Scafaria was a positive experience. Scafaria’s firm but respectful set, particularly regarding the treatment of women, contrasted sharply with Ruehl’s earlier experiences. The strict enforcement of respectful behavior and the firing of extras for inappropriate conduct highlighted a significant shift in industry norms in the post-Harvey Weinstein era. This “post-Harvey experience” underscored the positive changes emerging in Hollywood, driven by a new generation of filmmakers and the Me Too movement.
Mercedes Ruehl and Jennifer Lopez in “Hustlers.”STXfilms
Looking Back and the Arc of a Career
While “incentivized to get back in the movie game,” Ruehl acknowledges the continued scarcity of roles for women her age. She observes the enduring centrality of “boy meets girl” narratives in film, limiting opportunities for diverse stories. Reflecting on the industry’s evolution, she notes a “night-and-day difference” in the treatment of women compared to her early career. The Me Too movement, despite some resistance, has brought about a “sea change,” pushing towards greater equality, although the journey is ongoing.
Ruehl’s career arc provides valuable hindsight, particularly in light of feminism’s growing influence and the industry’s transformations. She acknowledges working with directors who lacked respect for women, contrasting them with “great ones” like Gilliam, Demme, and Nichols, who consistently demonstrated respect. Her decision not to name those disrespectful directors stems from a desire to avoid conflict and an understanding that people can evolve. Ultimately, Mercedes Ruehl’s journey reflects both the triumphs and the “illnesses” of Hollywood, offering a seasoned perspective on its past, present, and evolving future.
This interview has been edited and condensed.
