‘Not a Pretty Picture’: A Director’s Unflinching Response to Trauma

Made nearly half a century ago and long hiding in plain sight, Martha Coolidge’s “Not a Pretty Picture” is at once an autobiographical documentary, a Pirandellian psychodrama, an acting exercise, a personal exorcism and a powerful political tract.

The subject is date rape, and it could not be more topical. In a rare theatrical run, a new 4K restoration of the movie opens on Friday at Anthology Film Archives.

At 16 years old, in 1962, Coolidge was sexually assaulted by an older schoolmate. Her 1976 movie restages and analyzes the rape. In the film, it’s 1962 again and the actress playing Martha (Michele Manenti), innocently adventurous, takes a trip with three boys and another girl to New York City. No matter how self-possessed she believes herself to be, she winds up isolated in a loft, where she is cajoled, bullied and ultimately raped by a far more self-assured predator (Jim Carrington), who separates her from her friends.

Coolidge interviews the performers onscreen as well as directing them and encouraging them to improvise. The assault is the movie’s central scene, but nearly as compelling as the long takes of Manenti wrestling with Carrington as he urges her to “just please relax …” is the sight of Coolidge watching the struggle, her hand over her mouth.

The performances are multifaceted. Manenti herself was raped as a teenager and discusses this in the film. In critiquing his character, Carrington calls him “uneducated” (a polite substitute for jerk) and comes off nearly as glib, yet honest in his identification with the rapist. Anne Mundstuk, Coolidge’s boarding school roommate and confidante, is cast as her teenage self and recalls her own feelings at the time as well as her thoughts on re-enacting them.

Coolidge frames “Not a Pretty Picture” with her own expressions of vulnerability. It begins with a school recital performance of the most achingly pure of folkie love-songs “The First Time Ever I Saw Your Face,” sung by Coolidge and shown in long shot from the perspective of two smirking boys in the audience. It ends with the filmmaker acknowledging the shame she felt and the lasting damage that the rapist inflicted.