In the early 1990s, the world fell in love with the charming Mara Wilson, the child actor who played the clever young girl in family favorites such as Mrs. Doubtfire and Miracle on 34th Street.
The youthful star, who turned 37 on July 24, looked to be on track for success, but as she got older, she stopped being “cute” and disappeared from the big screen.
She asserts, “Hollywood lost interest in me.” She continues, “If you’re not cute anymore, if you’re not beautiful, then you are worthless.”
Mara Wilson, five, won the hearts of millions of people when she played Robin Williams’ youngest kid in Mrs. Doubtfire in 1993.
Before landing a role in one of Hollywood’s biggest comedies in history, the California native had previously starred in commercials.
“My parents were proud, but they grounded me. If I ever declared, ‘I’m the greatest!’, my mother would tell me, ‘You’re just an actress.” You’re only a kid,” Wilson, now 37, added.
Following her big-screen debut, she landed the role of Susan Walker, which Natalie Wood performed in 1947, in 1994’s Miracle on 34th Street.
In an essay for the Guardian, Wilson describes her audition: “I read my lines for the production team and told them I didn’t believe in Santa Claus.” She says, referring to the Oscar-winning actor who played her mother in Mrs. Doubtfire, “But I did believe in the tooth fairy and had named mine after Sally Field.”
The siblings from ‘MRS DOUBTFIRE’ have reunited over 30 years after the film’s release. pic.twitter.com/igfg92AlN9
— DiscussingFilm (@DiscussingFilm) May 2, 2024
Wilson then starred as the magical girl in 1996’s Matilda, with Danny DeVito and his real-life wife Rhea Perlman.
It was also the year her mother, Suzie, lost her struggle against breast cancer.
“I wasn’t sure who I was… There was a difference between who I was before and after the loss. Wilson describes her profound sadness after losing her mother as being like a ubiquitous force in her life. She says, “It was sort of overwhelming.” Most of the time, I just wanted to be a regular kid, especially after my mother had died.”
The little girl was exhausted, and she claims that being “very famous” was the most unhappy time in her life.
At the age of 11, she reluctantly took on her final significant role in the 2000 fantasy adventure film, Thomas and the Magic Railroad. “The characters were too young.” At 11, I had a visceral reaction to the script. Ugh, I thought. “How adorable,” she tells The Guardian.
But her departure from Hollywood was not solely her decision.
Wilson, a young adolescent, was going through puberty and outgrowing the “cute.”
She had been “just another peculiar, nerdy, and boisterous girl with unattractive hair and teeth, whose bra strap was perpetually visible.”
Backstage at @OkaytoSayTX supporting #mentalhealth awareness and destigmatization! pic.twitter.com/IqfFkuRiPj
— Mara Wilson (@MaraWilson) March 8, 2018
“At 13, no one had called me cute or mentioned the way I looked in years, at least not in a positive way,” she said.
The demands of celebrity and the challenges of transitioning to maturity in public confronted Wilson. Her shifting image had a significant impact on her.
“I held the Hollywood belief that if you lose your beauty or beauty, you become useless.” I immediately linked it to the demise of my profession. Rejection still stings, despite my exhaustion and Hollywood’s exhaustion towards me.”
Wilson, a writer, wrote her debut novel, Where Am I Now? The publication of “True Stories of Girlhood and Accidental Fame” took place in 2016.
The publication addresses “everything from what she learned about sex on the set of Melrose Place to discovering in adolescence that she was no longer ‘cute’ enough for Hollywood; these essays chart her journey from accidental fame to relative (but happy) obscurity.”
Having a rad time at #90sCon! pic.twitter.com/WMEEPpIBRr
— Mara Wilson (@MaraWilson) March 11, 2022
She also wrote a biography, “Good Girls Don’t,” detailing her experiences as a child performer striving to meet expectations.
“Being cute just made me miserable,” she says in an essay for the Guardian. I always thought I would stop acting, not the other way around.”
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