Desert Hearts (1985)

Longing, loneliness, and lingering with the people and places that connect (or bind) us to our past.

Desert Hearts is a 1985 American independent film directed by Donna Deitch. Set in 1959, Vivian Bell (Helen Shaver) comes to stay at a middle-of-nowhere ranch/inn owned by Frances (Audra Lindley). Vivian needs to establish residency in Nevada for 6 weeks, as back then this was one of the only places a woman could get a “no fault” divorce without infidelity or abuse. Buttoned-up Colombia University professor Vivian seems like she would be happy to hide out in her room reading and writing for the duration except for an interest in sculptor Cay (Patricia Charbonneau).

Gorgeous and vibrant Cay (who memorably introduces herself driving in reverse on the highway) is living as a lesbian about as openly as possible for the time. That means Cay still has to deal with the constant pursuits of her male boss she once entertained the idea of having a relationship with (she says she was “attracted to his attraction” to her) and occasionally other people in town have nasty things to say, but also no one seems to freak out if she has a woman back to her trailer (except when a shocked Vivian sees a half-naked woman in Cay’s bed when she visits her the first time). Cay’s trailer is on the ranch as she is basically Frances’ adopted daughter, after Frances had a long-term affair with Cay’s father and Cay’s mother abandoned her.

There is an obvious vibe between Vivian and Cay, but Vivian is a decade older, of a different class, and has given no clear indications she is gay or bisexual. Vivian doesn’t like the idea of drawing attention to herself in any way outside of an academic setting, let alone the kind of attention that would come from any assumptions about her sexuality. The attraction is also complicated by Frances, who holds on to Cay as one of the only ties to her dead lover and happier days. At first Frances was happy to have someone like Vivian “classing up” her home and seems like she has been willing to mostly overlook Cay’s lifestyle. Frances’ feelings change when the idea of Cay forming a real relationship forces her to acknowledge Cay’s nature, and she is is also scared and jealous that someone could take Cay away from her. I appreciated that complicated relationship, showing how Frances can still be jealous and controlling in a maternal/friend role. It is not explicitly pointed out or discussed by the characters, but Frances has more in common with Cay than she acknowledges. After all, the dead lover Frances pines for was never actually her husband. One can assume that Frances endured plenty of dirty looks and gossip about her relationship choices, but despite that and the fact that her ranch seems to be a haven for “lost” women she still can’t overcome her prejudice. Cay does try to make her understand by repeating Frances’ own words back to her, though. Cay tells Frances that Vivian “just reached in and put a string of lights around my heart,” the same thing Frances said about her lost love (I may have teared up in that moment).

This was a wonderful film. Despite the period setting and subject matter, it never swings into melodrama or misery porn like so many “sad lesbian” movies. This is also helped by a witty screenplay and performances delivering some withering one-liners and comebacks throughout that made me laugh out loud. Shaver as Vivian does a great job of putting on a reserved front but letting her eyes show her panic, nervousness, or burgeoning interest when she is around Cay (her performance is like 80% eyes here). Charbonneau’s beauty and black hair reminded me of Jami Gertz, and she projects confidence, charisma, and sex appeal in her first film role (and she looks amazing in the wet silk suit). She also does a great job when Cay’s demeanor changes after she reaches what is usually the final stage of her relationships (getting a woman into bed with her). All that confidence disappears once she is on new ground with actual stakes. Lindley’s grit and wit make Frances likable enough that (much like Cay) I couldn’t turn on her completely even once her character revealed her uglier side.

*ENDING DISCUSSION AHEAD*

So many movies with lesbian love stories end in tragedy or misery that it gets tiresome. Yet I am also generally averse to happily ever after endings that wrap romances up to neatly, because relationships are complicated and ongoing things. Desert Hearts hit me right in the sweet spot with an ending that is “hopeful,” not “happily ever after.” Two people willing to give it a go, talk things over, and try and work out all their baggage together. That Vivian is willing to take a chance and bring Cay into her life at Colombia regardless of what people think, and that Cay might take the chance to leave her comfortable but stifling existence with Frances to live a fuller life. Cay climbing on that train (I may have teared up again at that point) turns the page, it doesn’t close the book, and I am happy to imagine their further adventures beyond the credits.

Speaking of books, this was based on a novel by Jane Rule, but was apparently changed a great deal in adaptation. One thing I wish they had not changed is the title. Desert Hearts isn’t bad by any means, but the original title Desert of the Heart feels much more evocative of the loneliness and emptiness the characters feel before they come together.