Another March approaches, laden with a plethora of feminist agendas to address. It serves as a reminder to recent viewers of some feminist predecessors on screen which are reaching milestones. It is a worthwhile reminder that they will be analysed through contemporary lenses. Maybe they were ahead of their time, but they are not necessarily feminist per se.
Gilda (Charles Vidor, 1946) is nearing its 80th anniversary. This noir solidified Rita Hayworth’s career as a Hollywood star, making her one of the most memorable divas of the decade. However, her character is both iconic and problematic. In the traditional noir genre, she embodies the archetype of the femme fatale. In the 1940s, Gilda revolutionized the portrayal of women by embracing her sensuality and addressing her sexuality outside the domestic environment, reflecting the era’s anxieties on women with men returning from war and women to homes, after experiencing the taste of an early feminism with labour and freedom. Traditionally, the femme fatale is depicted as a beautiful and seductive woman who uses her charms to manipulate men into dangerous situations to achieve her goals. She is often portrayed as a villain, representing society’s taboos on women. The problematic aspect lies in the portrayal of these characters through the male gaze, which often objectifies them and perpetuates stereotypes, reducing them to their sensuality and sexuality. Typically, these characters are condemned or eliminated by the end of the story.
Sunset Boulevard (Billy Wilder, 1950) is about to approach its 75th anniversary. It stands as a pivotal film in Gloria Swanson’s career, particularly for her portrayal of Norma Desmond. Like Rita Hayworth’s Gilda, Norma embodies the archetype of the femme fatale. However, the characters differ in the anxieties they perpetuate. The film was ahead of its time in its exploration of aging women and Hollywood's obsession with beauty standards for young female bodies, a discussion that continues today. Norma Desmond's character serves as a poignant reflection of these themes, highlighting the challenges faced by women in the industry as they age and the pressure to maintain youth and beauty.
Gentlemen Prefer the Blondes (Howard Hawks, 1953) recently marked seven decades since its release. The musical comedy tells the story of camaraderie between Lorelei Lee (Marilyn Monroe) and Dorothy Shaw (Jane Russell). There is no rivalry between them, even though Mr. Esmond Sir (Taylor Holmes) tries to manipulate and incite competition. However, their support and friendship for each other remain paramount. This story also portrays female empowerment, as they stand together as co-workers, forming a strong bond that is mutually complementary.Despite the waves of feminism over the years, there are still many filmmakers who employ the male gaze through various cinematic elements. This movie, originating from a pre-feminist era in the 1950s, brings a revolution to the female gaze, particularly through the character of Dorothy. With her ambitious pursuit of love, her body language and dialogues subtly convey her desires, especially with the Olympic team. It's worth noting, however, that the film was directed by a man. In some respects, the film deliberately embraces a sexual undertone as the protagonists utilize songs to express themselves, and their journey becomes symbolic of freedom. Lorelei, on the other hand, is portrayed as a 'diamond-digger.' This characterization is evident through her dialogues and the iconic number 'Diamonds Are a Girl’s Best Friend.' Her portrayal is potentially ground-breakiIt is worth mentioning that the film is a depiction of a specific time period, characterized by passive portrayals of women. Scenes where women wait at tables for men and a trip facilitated by men are indicative of this attitude. The presence of sexist jokes further reinforces this perspective. While the film introduces innovation in various aspects, it lacks diversity, with many minority characters remaining inexistent, a reflect of their invisibility in the shadows of the real world. Notably, the movie perpetuates this issue, exemplified by Piggy’s (Charles Coburn) mocking impressions of South Africa. A woman driven by materialistic ambitions rather than romantic ones, defying the norms of her time. This portrayal can be seen as a form of protection against a sexist world. In her actions, she inadvertently contributes to the creation of the contemporary concept of the 'sugar daddy.’ However, it's worth mentioning that diamonds aren't exactly the movie's best friend. It perpetuates the 'dumb blonde' stereotype through the typecasting of Marilyn Monroe. Despite this, there are scenes where she subverts it, adding depth to her character with lines such as 'I can be smart when it's important, but most men don't like it' that was improvised by the Hollywood star. The movie perpetuates a retrograde beauty standard. This is evident not only in the title itself, which implies a preference for blondes according to male desires, but also in the film's portrayal of Lorelei. For instance, scenes following her kisses with her fiancé include exaggerated sound effects to accentuate his passion. Additionally, a rivalry is depicted between her and Lady Beekman (Norma Varden), contrasting a young blonde woman with an older grey-haired one. Furthermore, there are instances where the film positions Dorothy as her shadow, almost embodying the concept of a 'designated ugly fat friend.'’
Some Like It Hot (Billy Wilder, 1959) is completing 75 this year. Monroe's performance in this film captured the essence of her star power and consolidated her persona with the mix of naivety and sensuality. ‘Some Like It Hot’ was the trailblazer in terms of crossdressing in mainstream cinema. It is worthwhile mentioning the film was made during the final years of Hays Code, which was between 1934 and 1968, it entailed industry guidelines for self-censorship for content to most motion pictures released by major studios in the United States. One of them was “sexual perversion”, which was any kind of LGBT+ portrayal on the silver screen. Besides that, off-screen, there were anti-crossdressing laws and anti-gay laws, both carried a negative undertone in the eyes of society. With that being said, 'Some Like It Hot' was ahead of its time with its depiction of crossdressing in the leading roles. It offers a glimpse into women's daily anxieties of sexual assaults and harassment through the perspectives of two white men, both literally and metaphorically walking in women’s shoes. This crossdressing playfully explores the concepts of femininity and masculinity. However, this portrayal is not without its drawbacks. It carries a negative undertone regarding the trans and crossdresser community, serving as a precursor to the villainous trope of the 'transgender killer,' which is still frequently used in horror or comedy genres. This perpetuates social stigma and portrays them as unstable, deviant, and dangerous. Furthermore, the film implies a taboo-breaking happy ending involving a gay relationship, a decade before the Stonewall Riots. However, it's important to note that the film also includes recurring jokes about lesbianism in a negative light. The movie is set in the late 1920s, a period characterized by a pre-feminist society that had recently granted suffrage rights to women. However, it was produced during a transformative period in terms of gender roles. Women in the film are depicted in diverse roles, and their relationships are portrayed as sorority-based, lacking rivalry and condemning male insensitivity. However, there is a noticeable lack of diversity, and the acquired rights depicted in the film primarily benefit white women. Additionally, the film is viewed through the lens of the Male Gaze, as evidenced by the introduction of Sugar Kane (Marilyn Monroe) via a point-of-view shot of Joe, directed by Billy Wilder, following her movements and focus on specific body parts. Despite this, women are not merely depicted as objects of desire; rather, they are portrayed as individuals approaching their sexuality in an innovative and liberated way, embracing an open attitude toward sex, and expressing their desire for sexual liberation. Latin America is portrayed as an escape rote.
Breakfast at Tiffany's (Blake Edwards, 1961) is nearing its 65th anniversary. While its story may not be as widely known as its iconic aesthetics, epitomized by Holly Golightly's unforgettable costume, the film remains a cultural touchstone. Clad in a black Givenchy dress, black gloves, crown, pearl necklace, quellazaire, and sunglasses, Holly embodies glamour, allure, and feminine non-conformity. Audrey Hepburn's performance as Holly is a recognizable icon in popular culture and played a significant role in challenging gender roles of the time. During the 1960s, a period marked by Second Wave Feminism, Holly Golightly emerges as a pioneering figure, embodying the ideals of a modern, independent woman. Unlike the traditional archetypes of bombshells or virgins waiting for Prince Charming, Holly is divorced, ambitious, and unapologetically pursuing her life aspirations. Her choices defy the expectations of 1950s gender norms, as she rejects the roles of housewife and mother in favour of a self-determined path. Holly's lifestyle—partying and drinking from dusk until dawn, followed by sleeping during the day—further challenges societal conventions. Her desire to marry a millionaire for financial stability represents a pragmatic approach to achieving her goals, demonstrating agency over her own destiny. In essence, Holly Golightly's character in "Breakfast at Tiffany's" transcends the confines of her era, paving the way for a new archetype of female empowerment and independence. Though, there are offensive portrayals of the "other", with yellowface, Latin culture is generalised and Brazil is reduced.
9 to 5 (Colin Higgins, 1980) is based on a grassroots campaign that emerged in the 1970s in response to workplace issues primarily faced by women, aiming to improve working conditions, equal pay, and opportunities in the workforce. It served as a unifying force for women across race, class, and age divides. The movie follows the journey of three secretaries—Violet (Lily Tomlin), Judy(Jane Fonda), and Doralee (Dolly Parton)—against their boss, who embodies toxic masculinity and patriarchal ideals, this is even notable visually with rustic environment, moustache and paired animals. As the film approaches its almost 45th anniversary, the issues it depicts remain relevant today. However, some elements have not aged as well, such as its lack of diversity and the fact that it was directed by a male. Additionally, a few scenes perpetuate the male gaze, detracting from its overall message of empowerment and equality with women in varied roles, though one of them endgame was related to marriage, unlike the others that had promotions in their roles and Latin America is portrayed as an escape rote.
Thelma & Louise (Ridley Scott, 1991) is nearing its 35th anniversary. Overall, the film encapsulates the essence of sorority, depicting the sisterhood between two contrasting realities: a romantic, sensitive housewife and a hard, independent waitress, each complementing the other. The film occupies a unique space in cinema due to its portrayal of the friendship between older women. Moreover, the film serves as a metaphor for female empowerment and freedom, symbolized by the car journey and the women's possession of phallocentric power through their guns. It provides a glimpse into the female experience, highlighting unpleasant encounters with harassment and domestic violence. Additionally, the film offers a female gaze, even though it is directed by a male, particularly evident in Brad Pitt's debut on screen. Latin America is portrayed as an escape rote.
A League of Their Own (Penny Marshall, 1992) recently marked three decades since its release and even inspired a reboot on a Prime series, although it has since been cancelled. The film is based on the All-American Girls Professional Baseball League (AAGBL), which was created in 1943 during World War II to keep baseball in the public eye while men were away at war. The AAGBL played a significant role in American history, particularly for white women, as it helped challenge traditional gender roles and broaden their horizons. From 1946 to 1949, players like Terry Donahue were instrumental in breaking barriers for female athletes. However, it's important to acknowledge that while the AAGBL had a massive cultural impact, it primarily benefited white women. Unfortunately, other female minority groups, such as Black women, did not have similar opportunities in professional leagues. Instead, they often participated in semi-pro or recreational leagues or navigated within male-dominated leagues. During this time, they were also denied basic rights, such as the right to vote, further highlighting the intersecting challenges faced by women of colour in American society. Despite being directed by a woman, the movie does not escape criticism for its sexualized portrayal of characters, evident even in its marketing campaigns. This dichotomy highlights the ongoing complexities surrounding gender and representation in sports media.
What Women Want (Nancy Meyers, 2000) is about to approach its quarter-century mark, yet its legacy is marred by several problematic elements. Firstly, the casting of the actor behind the protagonist, who has faced accusations of sexism and abuses, taints the film's reputation. Secondly, while the film's premise of a man gaining the ability to hear women's thoughts is clever, it ultimately falls short in its portrayal of women. Despite being depicted as independent individuals with diverse backgrounds, they are often reduced to damsels in distress rescued by the protagonist and viewed through the lens of a womanizer's perspective. The male gaze is evident throughout the film, perpetuating stereotypes and reinforcing gender norms. Furthermore, "What Women Want" perpetuates harmful stereotypes, such as portraying sensitive men as gay and depicting women as primarily engaged in idle chatter rather than meaningful work. The film also reflects male anxieties about empowered women and the fear of being replaced in the workplace. This is exemplified by the protagonist's discomfort when using women's products and his privileged position as a male. Finally, the film's problematic ending.
As "Hidden Figures" (Theodore Melfi, 2016) approaches its first decade, it stands out among its counterparts for its commitment to intersectional diversity and its exploration of themes related to racism and sexism. The biopic portrays the untold story of the brilliant NASA scientists who played pivotal roles in the space race, highlighting the struggles they faced due to their race and gender. Unlike other films, "Hidden Figures" offers a nuanced depiction of intersectionality, addressing the unique challenges faced by African American women in STEM fields. Through its portrayal of the NASA scientists, the film emphasizes the importance of representation and celebrates their achievements as trailblazers in their field. The story of these remarkable women concludes with an open door, symbolizing their role in paving the way for future generations of diverse talent. "Hidden Figures" serves as a powerful reminder of the need for more inclusive storytelling in cinema, ensuring that the contributions of marginalized communities are no longer hidden or overlooked.
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