By Jason Bailey
Jessica Harper, the actress, was originally featured in The New York Times on Aug. 19, 1977, coinciding with the debut of the Italian horror film “Suspiria.” A significant focus was on her decision to decline a minor part in Woody Allen’s “Annie Hall.” She elaborated, “I would have loved to participate in ‘Annie Hall,’ but this was a major role and the chance to go to Rome was irresistible. I couldn’t let it go, though I’m unsure it was the best decision.”
During a recent video chat discussing her new movie, “Nightbitch,” I seized the rare chance to pose a long-overdue question: Was that decision truly wise?
“More than wise, it was a brilliant decision,” she replied with laughter. “‘Suspiria’ has turned into a stunning film within its genre, and I take great pride in being part of it — and I’m somewhat amazed, though not entirely surprised, by its sustained success over the years.”
“Suspiria” marked a pivotal moment for Harper on two occasions — initially in 1977, affirming her as one of the era’s most alluring yet unpredictable talents, and again in 2018, when Luca Guadagnino remade the film, granting Harper her first significant role in a feature film after a 16-year hiatus. “I felt incredibly fortunate to have the chance to jump back into acting,” she cheerfully remarked, adding, “He’s a wonderfully wild and imaginative person, and I adore collaborating with him.” Additionally, she was keen to “return to Italy and reengage with larger projects than I had been concentrating on for many years.”
Among these is “Nightbitch,” featuring Amy Adams as a mother confronting her feral instincts while coping with her decision to remain at home with her frequently absent husband. Adams, who is also a producer on the film, remarked that Harper possesses “a remarkable grounded mysticism that I found beautiful,” noting the wisdom she brought to the film. She continued, “The dynamics became quite evident once she arrived on set. I always appreciate when you collaborate with an actor, and everything is scripted, yet you explore the depth of that relationship together.”
Harper’s absence from major films was largely voluntary, as she chose to step away from the limelight to marry and nurture a family, while still finding ways to keep her creative spark alive. “I authored a number of children’s books and produced several albums of family music,” she shared. “I sought other avenues for expression.” However, back when she began her acting journey in 1969 with “Hair,” she wouldn’t have envisioned such a self-imposed withdrawal.
Hailing from a large Midwestern family (which she recounts in her engaging memoir podcast, “Winnetka”), she is one of six offspring born to conservative parents. “You might not expect them to celebrate their daughter landing a Broadway role, performing naked before 700 patrons eight times a week,” she chuckled, “but it was actually my mother who encouraged me to audition for that show” after she spotted an article in the Times.
She then starred in the off-Broadway sensation “Dr. Selavy’s Magic Theater,” which garnered critical acclaim and attracted theatergoers, including Brian De Palma.
The emerging director was casting for his unconventional horror musical comedy “Phantom of the Paradise” and sought Harper for the ingénue role. Despite her lack of film experience, Harper secured the part (beating competitors like Linda Ronstadt) and found herself amidst a chaotic production. “They instruct you to ‘hit your marks,’” she recalled. “Then they say, ‘Look camera left.’ I’m thinking, ‘Whose left? Your left or mine?’ I was completely clueless.” She adapted swiftly. Her captivating performance in “Phantom” caught the attention of renowned Italian director Dario Argento, who offered her the lead role in “Suspiria.”
“I truly enjoyed it,” she confessed, “mainly because, during that period in my life, I wasn’t fearful of any challenges. I embraced risks wholeheartedly, and everything felt like a thrilling adventure — especially visiting this unfamiliar city with very few crew members speaking English.”
Thus, she picked up some Italian, and “I recall a moment when I became completely comfortable with my work.” That newfound assurance propelled her through subsequent years, during which she collaborated with avant-garde directors on audacious yet fulfilling projects.
However, as the 1980s approached, a shift occurred for Harper, influenced not only by the studios (and the culture) becoming more conservative. After starring alongside Steve Martin and Bernadette Peters in “Pennies From Heaven,” a somber Depression-era musical, she recollected, “Returning home alone in a limousine to my little house in Laurel Canyon, I realized, ‘I need to enrich my life.’ I reached that stage where I was ready to focus on creating a family.”
In 1989, she wed Tom Rothman, currently chair of Sony Pictures, and quickly welcomed two children. “That dramatically transformed my life, clearly,” she noted.
While she didn’t abandon acting entirely, “it was primarily local and television work, rather than numerous features that often required travel to places like Yugoslavia.”
There were sporadic significant roles (“Safe” for Todd Haynes in 1995; Steven Spielberg’s “Minority Report” in 2002), “but for several years, I was, let’s say, grappling with balancing work and motherhood” — similar to Amy Adams’ character in “Nightbitch.”
She wished to remain close to her daughters and avoided traveling. Nevertheless, she discovered ways to blend family obligations with artistic pursuits, especially through writing children’s books (some illustrated by her sister, Lindsay Harper duPont). “It became a way to fulfill my creative urges while involving my kids in the experience,” she said. Now that her daughters are adults, she’s been free to engage in a broader range of projects; she wrote, edited, and narrated the “Winnetka” podcast, authored a cookbook, and just completed a memoir inspired by her experiences with her family during the COVID lockdown.
And now she’s back to acting. Following “Suspiria,” Guadagnino cast her in his next film, “Bones and All.” Last year, she appeared in the indie drama “Memory,” and she has featured in several episodes of “See,” “Fatal Attraction,” and “The Old Man.”
“I’m delighted to share that I’m attracting more unconventional films, and I’m seeking them out as well,” she commented, adding, “I feel like there’s always something innovative and entertaining happening.” For “Nightbitch” — in which she portrays a children’s librarian, reflecting her own life — she was cast “the traditional way: I auditioned, and to my surprise, they offered me a part. It was truly uncomplicated.”
“I absolutely wish to continue acting, and I hope intriguing roles will come my way,” Harper expressed. “I’m thrilled to be on this creative journey. I’m enjoying every moment.”
