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| Resident Evil DVD Cover |
Feminist film discussion so often turns to the Bechdel Test—for the uninitiated, it asks if 1) a movie has more than one female character 2) if two female characters have a conversation 3) if that conversation is about something other than a man—that it is easy to forget the test is not meant to be a benchmark of quality. Passing the Bechdel Test does not make a movie good. It does not even make a movie particularly feminist. It’s a bare minimum requirement for movies at all interested in portraying women as part of its story.
I’d love it if more movies passed the Bechdel test, but don’t count on The Rule as the savior of cinema. Movies can easily pass the Bechdel test and be beyond terrible. Which is abundantly illustrated by the Resident Evil franchise; which releases its fifth installment, Resident Evil: Retribution, today. The first four Resident Evil films pass the Bechdel Test. They even pass the Sarkeesian Corollary—that women characters speak to each other about something other than a man for at least 60 seconds—which is fairly remarkable for action-heavy movies without much dialogue at all. The first four Resident Evil films also pass Alaya Dawn Johnson’s adaptation of the Bechdel test to evaluate the representation of people of color in movies.
[By the way, it’s very easy to pass the third prong of these tests when there’s a gender-neutral ZOMG ZOMBIE APOCALYPSE! to dominate conversation.]
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| Zombies: something to talk about |
Additionally, the Resident Evil films pass what I would call The Ripley Test, in that many of the female characters’ gender is not essential to their character or to the plot, and a male character could have filled that “slot” just as easily. The series protagonist, Alice, played by Milla Jovovich, was not a character in the video game series but was invented for the films.
The second film, Resident Evil: Apocalypse, starts bringing over characters from the game series, and notably chooses Jill Valentine, the female of the pair of main characters from the original game, over Chris Redfield, who doesn’t appear until the fourth movie (one film after his sister Claire appears as the leader of a band of surviving humans.) [Author’s note: I’ve never played the Resident Evil games and relied heavily on the Resident Evil Wiki to write this piece.]
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| Jill Valentine in Resident Evil video game and film |
One could cynically dismiss the choice to create the character Alice and select Jill Valentine as one of the first crossover characters as the result of Hot Action Chicks putting butts in movie seats. They do both make incredibly impractical clothing decisions (or in the case of Alice in Resident Evil, have incredibly impractical clothing decisions made for them). But the first film also has Michelle Rodriguez as badass S.T.A.R.S (think S.W.A.T, but working for an evil corporation) officer Rain Ocampo, who could just have easily been another tough dude to leave Alice our Smurfette.
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| Michelle Rodriguez as Rain in Resident Evil |
Resident Evil: Extinction finds Alice, Claire Redfield, and secondary female characters Betty and K-Mart (seriously) dressing and acting much more like people whose primary concern is avoiding grisly death by zombie attack, give or take a little eyeliner.
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| Spencer Locke as K-Mart and Ali Larter as Claire in Extinction |
So the Resident Evil franchise does not have an inclusiveness problem. Unfortunately, it has a problem with pretty much everything else that makes a movie enjoyable: storytelling, logic, consistent mythology, characterization, visual finesse. Zombie genre inventor George A. Romero was fired from the first Resident Evil movie over “creative differences.” Firing Romero from your zombie movie is like firing Zeus from your thunderstorm. His absence is profoundly felt in the Resident Evil films’ total inability to make up their mind about their internal Rules of Zombification (Resident Evil‘s zombie apocalypse is caused by the spread of a biological weapon called the T-virus, which sometimes seems airborne and other times not so much, which when exposed to living tissue either causes superpowers or horrific mutations depending on the will of the plot, and sometimes causes your traditional death and subsequent reanimation as a zombie, or maybe a gigantic Super Zombie if we’ve reached the end of a level an act).
The Resident Evil movies would also have benefited from Romero’s transparency when it comes to social commentary: it’s one thing to have the primary antagonist be the gigantic and sinister Umbrella Corporation, but that lack of subtlety offers no help in understanding the actual meat of your message when Umbrella Corporation’s apparent corporate mission is to be as moustache-twirlingly eeeeevil as possible, rather than, you know, normal corporate goals like making money.
Warning: this teaser trailer is infinitely better than the actual movies.
But the main problem with the Resident Evil series unfortunately is one that severely undercuts is Bechdel-busting assets, and that is that series protagonist Alice is a total cipher. In every film she is re-set, like a video game character reverting to the start of the level. In the beginning of Resident Evil, she awakes (naked in the shower) with no memories. In Resident Evil: Apocalypse, she begins and ends the film waking up in Umbrella Corporation lab with new sets of superpowers as the subject of unknown experimentation.
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| Alice wakes up in an Umbrella Corporation lab. Get used to it, Alice. |
In Resident Evil: Extinction, she’s revealed to be one of hundreds of Alice clones. In Resident Evil: Afterlife, all the clones are quickly killed off in a massive explosion, and the surviving Alice is somehow stripped over her superpowers, only to act more or less exactly as tough as she was when she still had them.
Before the consequences of any of these changes to the nature of Alice’s character can be explored, the series hits the reset button yet again. Meanwhile, Alice’s personality can bizarrely and dramatically shift at any time, and we’re supposed to dismiss it because she’s always just had her memories erased or been genetically modified or remotely activated by satellite or cloned or de-powered or something wackadoo and scifi like that.
While the Resident Evil movies make it abundantly clear that passing the Bechdel Test is not enough to make a movie any good, ultimately I must say I like this series more than I would if it were another male-dominated action franchise. It’s not like video game adaptations are generally known for nuanced characterization anyway. I know I’m going to keep watching these terrible flicks because I like zombie movies and action movies, and if I’m going to keep punishing myself with crap movies, it’s at least nice to see some what-passes-for-“characters” of my own gender represented some of the time. Representing women doesn’t necessarily make a movie any good, but it at least makes it a little different.
Great analysis.
For the last couple of years, I have been referring to what I call the “Advanced Bechdel Test”: ordinary Bechdel test in a film not primarily aimed at children and without sexual violence. When you see how very few films pass it, the general impression is that if a woman has the temerity to speak to other women in a film, it’s not going to take much more than 40 minutes for her to suffer some form of sexual abuse. Still, not an indicator of film quality.
Ooh, great test! Resident Evils 1, 2, and 4 pass but Resident Evil: Extinction does not.
I agree so much. “Passing the Bechdel test” has come to imply some kind of seal of feminist approval, rather than the bare scraping minimum expectation that it really is. Because, dudes, if it passes that test it should be enough to shut the b*tches up, amirite? [/sarcasm]
The vast majority of all mainstream blockbusters are mindless entertainment, and that’s totally cool! Nobody expects blockbusters to be high art. Women are not asking that every single film be an artistic achievement. We just want to be able to have escapist fun with characters we can identify with and not feel marginalized.
As Meryl Streep so bluntly and brilliantly said, don’t they want our money?
I hate those movies, they’re the exact opposite of the original 1996 game. Which is basically a slow-paced mystery / roleplaying / action series exploring a mansion which is infested with zombies. It gives the feel of being inside an animated cartoon which is half classic mystery, and half classic horror movie.
Also, Jill Valentine’s in-game outfits were much more sensible than Lara Croft
http://4.bp.blogspot.com/-zo9aibV6y2Q/Te5NnN1ofhI/AAAAAAAAAB8/9rbjS01E-H0/s1600/Jill_Valentine_RE_UC_02.jpg
It’s more about exploration / discovery and planning than about gunning your way through. In fact, being gung-ho in the game is the surefire way to a quick death. You have to think, read diaries solve puzzles and avoid fights to survive.