The radical notion that women like good movies
Daphne: The Secret Life of Daphne du Maurier. Dir. Clare Beavan. BBC/Warner Borthers, 2007. Film. |
With Rebecca, Daphne du Maurier wrote of some of the most enduring characters and places in English literature. We open the book and speak the first line with the second Mrs. de Winter, our guide into the mystery and intrigue at Manderley. Much ink has been spilled about du Maurier’s masterpiece but the author herself has been slightly more neglected until quite recently, with several biographies published in the last ten years. In 2007, the BBC turned its attention to du Maurier’s life with a biopic titled Daphne, exploring a brief period in the writer’s life but providing enormous insight into her character. Directed by Clare Beavan, with a screenplay by Amy Jenkins, the film stars Geraldine Somerville, Elizabeth McGovern, and Janet McTeer. The film grapples directly with du Maurier’s sexuality in an effort to show how the major relationships in her life affected her writing process.
Before saying anything further, a word on language is necessary. Du Maurier herself refused to put a label to her sexuality, preferring to describe her passions with men and women both in her own, often poetic metaphors. (Words like “lesbian,” which du Maurier despised, had a distinctly pejorative sense in her time. For more on the evolving language we use to describe relationships between women, read Lillian Faderman’s excellent Odd Girls and Twilight Lovers, which focuses on the 20th century in particular.) Where possible, I’ve tried to use du Maurier’s euphemisms but have substituted “bisexual” when using her words would have resulted in sentences too awkward to read.
The film itself is a circular one, opening with the announcement of a death, rewinding seven years, and ending with the same telegram bearing bad news. The intervening years were defined by her two most passionately intense affairs, and bookended by the Rebecca plagiarism trial and the writing of My Cousin Rachel. Daphne’s husband Tom Browning returns from the war, and their awkward reunion is a sad harbinger of a postwar rapprochement that never occurs. Shortly afterwards, Daphne leaves England for America, two youngest children in tow, in order to defend her masterpiece Rebecca against accusations of plagiarism. On the ship, she meets Ellen Doubleday, the wife of her American publisher Nelson Doubleday, and one of the great loves of her life. Daphne falls hard and fast for the beautiful Ellen, and swiftly idealizes her, eventually using her as inspiration for her first play, September Tide. Ellen addresses Daphne’s infatuation directly, telling her gently that she can’t return her affections: not only is she married, but she is decidedly straight.
Back in London, the actress Gertrude Lawrence is cast in September Tide, and ultimately, Daphne begins an affair with Gertrude, until everything falls apart. It’s difficult to offer more of a summary without wholly giving away the film, because this is mostly a film about Daphne’s relationships, and relationships, in movies and in real life, are usually built on small, ordinary nothings. Not much happens in the movie, but that’s okay: the trio of strong actresses at the heart of Daphne delivers compelling performances and they more than carry the narrative to its conclusion. It’s easy to see why Daphne falls for McGovern’s devastatingly beautiful and sophisticated Ellen, and McTeer’s sensitive turn as Gertrude Lawrence breathes life into a character that very easily could have become a caricature.
Quite apart from any aesthetic considerations (relative austerity of sets, for example), the film’s main flaw lies in the narrative decisions made by the screenwriter: instead of telling a story about a bisexual writer, the film ultimately tries to argue that du Maurier only found happiness with women, who in turn inspired her writing. In so privileging the importance of the ‘Venetian’ (lesbian) relationships in du Maurier’s life, the film creates a false image of du Maurier’s sexuality. She made it plain that she felt as if she were “two spirits”, and sought relationships with men and women. Daphne is a missed opportunity to portray a bisexual woman during a pivotal, transitional period between the relative sexual freedom of the 1920s and 1930s and the post-World War II repressive, prudish attitude toward non-heteronormative identities that persists to this day. The film would have been far more interesting had it sought to portray du Maurier’s “boy in a box” more truthfully.
Du Maurier’s long marriage is the cost of casting du Maurier as Venetian: Tom Browning’s important role in Daphne’s life is marginalized. He hovers in the background without much to do. It’s to Andrew Havill’s credit that he makes Tom interesting enough to be noticed in a film that is wholly disinclined to address his character’s existence. In his one poignant scene with Somerville, they appear to be perfect strangers: all of a sudden, a marriage and attendant domestic relationship appears out of thin air, only to recede as quickly as it came. Du Maurier and Browning, while not necessarily exceedingly happy together, nevertheless maintained their relationship amid affairs on both sides, and cared for each other. In a film with a bisexual protagonist, avoidance of her main heterosexual relationship (especially given that there were others which go unmentioned in the film) doesn’t do justice to the fullness of du Maurier’s character.
Elizabeth McGovern (L) and Geraldine Somerville in Daphne. |
“The Rebecca of Barberrys,” wrote Daphne du Maurier to describe Ellen Doubleday, referring at once to Ellen’s beauty, magnetism and generosity, as well as the loveliness and orderliness of Barberrys, the Doubledays’ country home in Oyster Bay, New York. Why would du Maurier cast Doubleday as Rebecca? Written to Doubleday early in their friendship, while du Maurier was still dazzled by all she saw and imagined Doubleday to be, it’s unlikely that she was referring to Rebecca’s more unsavory traits. Du Maurier’s pronouncement, however, is an eerily accurate description of the portrayal of Ellen Doubleday in Daphne. In du Maurier’s novel, Rebecca is never allowed to become a character in her own right. There are competing portraits of Rebecca – as angel, as evil manipulator, as beautiful hostess and paragon of elegance – because the reader never meets Rebecca and only sees her through the eyes of others. Like Ellen in Daphne, Rebecca is only ever however the speaker wishes her to have been.
Amy Jenkins, Daphne’s screenwriter, has no choice but to turn Ellen into Rebecca. The movie creates its own problems by avoiding du Maurier’s sexuality as it does. It must be an all-or-nothing relationship for Daphne because the film hasn’t set her up as bisexual at all, but as a repressed “Venetian.” She therefore needs to be totally invested in pursuing love with Ellen precisely because her marriage is mostly an inconvenience which the movie addresses as little as possible.
Jenkins weaves extracts from the du Maurier-Doubleday correspondence into the script, with some scenes consisting entirely of exchanges from the letters. It’s to Jenkins’s credit that these quotes blend well with her original material. The source material as credited in the end titles is Margaret Forster’s excellent 1993 biography of Daphne du Maurier, for which she was allowed access to the then-sealed Ellen McCarter Doubleday collection at Princeton University. Small but significant changes to the letters’ text and the sequence of events have a profound effect on the viewer’s perception of Ellen Doubleday.
At the climax of the film, Ellen and Daphne are in Florence for a getaway following the death of Nelson Doubleday from a long, protracted, and painful illness. After a bit of a spat, Daphne kisses Ellen, leaving Ellen in floods of tears and feeling “guilty” at being unable to “change her hormones” so as to reciprocate Daphne’s affection. “Guilty! Guilty!” shouts Daphne. “I’m not another of your acolytes to be indulged, you know. Christ…do you think I have no pride?”
At the end of the film, some years after the kiss, Daphne once again attends a party at Barberrys, where she observes Ellen flirting with her new beau. “So, the lady is for burning after all,” she observes. She follows with a bitter parting shot about what would become My Cousin Rachel: “I’m writing a new novel. It’s about a widow rather sinister. You never really know whether she’s an angel or a devil. She dies in the end!” and storms off the terrace.
After catching up to her, Ellen tells her, even more unequivocally than before, that “I don’t want it. I don’t want love with you. You may go to Venice with whomever you please.”
Taken together, these scenes unfairly portray Ellen as a two-timing manipulator, a shameless flirt, patronizingly unconcerned for Daphne’s feelings, who really might be an angel or a devil, particularly when the last line which implies that Ellen doesn’t want Daphne. Indeed, given the wording of Ellen’s first, gently veiled explanation of her feelings (“I can’t love you in that way”), it suddenly seems as if Daphne were the problem all along: it’s not that Ellen doesn’t want Venetian love, but she doesn’t want love with Daphne. Daphne winds up looking desperate and Ellen, cruel.
Most of the lines quoted above were actually written by Doubleday and du Maurier. Doubleday did indeed tell du Maurier she felt guilty – about her tardy reply to a letter before the trip. Du Maurier did call out Doubleday for her comment about feeling guilty about the letter, without the tart barb about Doubleday’s ‘acolytes.’ Later on, du Maurier did complain that Doubleday “was for burning,” but in a private letter, and softened by musings that emphasized that her sarcasm was the result of wanting Doubleday to be something she could not. The bit about Rachel the sinister widow was written to du Maurier’s former teacher. Du Maurier did make it clear that Ellen was, in some respects, the inspiration for Rachel, but she did so in a letter, assuring Ellen that it would remain a secret. Finally, Doubleday did tell du Maurier she could “go to Venice with whomever you please, with my blessing,” the latter phrase – excised from the film – taking some of the sting out of Doubleday’s (understandable) frustration that she was still saying the same things, almost ten years after they met.
All this is not to say that Daphne isn’t a worthwhile film. It is: not only for the spectacular shots of the rugged Cornish landscape, but for the way it engages with Daphne’s struggle to articulate her feelings for Ellen, for the way it illustrates her thought process, her desires, and her disappointments. Bringing her letters to life isn’t a bad concept; I simply wish that the film had stayed true to those letters. There’s a compelling story there, but not, I think, the one that some wish it to be. I’d love to see a film that engages directly with the struggles of du Maurier’s “boy in a box,” but Daphne is not it.
References and further reading
Faderman, Lillian. Odd Girls and Twilight Lovers: A History of Lesbian Life in Twentieth-Century America. New York: Columbia University Press, 1991.
Forster, Margaret. Daphne du Maurier: The Secret Life of the Renowned Storyteller. New York: Doubleday, 1993.
Amanda Civitello is a freelance writer based in Chicago who has most recently written on Tamara de Lempicka’s bisexuality for Autostraddle. She holds an honors degree in art history from Northwestern University and is interested in the ways in which artists use their media to explore issues of identity. You can find her on twitter @amcivitello.
Viola Davis at the 81st Academy Awards (Photo credit: Wikipedia; Image by: Chrisa Hickey ) |
The internet has been abuzz over Meryl Streep’s badass statement at Women in Film (WIF)’s Crystal + Lucy Awards condemning the “underrepresentation of women” in film and Hollywood’s preoccupation with “big tent-pole failures.” She went on to question, “Don’t they want the money?” since women’s films like The Devil Wears Prada and Mamma Mia have been box-office blockbusters. And the divine Streep couldn’t be more right. We desperately need more women on-screen (and behind the camera), especially considering women comprise only 33% of speaking roles in film.
“I realized I spent my entire life trying to be better than my mom. That I am the daughter and the granddaughter and the great-granddaughter and the great-great-great-granddaughter of so many women whose dreams are in the graveyard. They’re women of color who worked in the tobacco fields and the cotton fields and had children by the time they were 15, left school in the 8th grade and a dream was just ambiguous to them.“And I realized that I wanted to have a dream. And I think that I chose acting because all my life has been filled with stories of people of color that have been filled with so much complexity and duality. And so much of my life has been filled with so much pain and humor and joyous moments that I felt the need to express that. And I couldn’t do it in a 9 to 5 [job].“I believe unlike my mom and my grandmother and my great-grandmother that the privilege of a lifetime is being who you are, truly being who you are.“And I’ve spent far too long apologizing for that — my age, my color, my lack of classical beauty — that now at the age of…well at the age of 46 I’m very proud to be Viola Davis, for whatever it’s worth.“And I never want to look in the face of a young actress of color and think to myself, “What’s out there for her?” The only thing worse than a graveyard, artistic graveyard, filled with women…[Davis undoubtedly said something awesome here but the video cut out]“The higher purpose of my life is not the song and dance or the acclaim, but to rise up, to pull up others and leave the world and industry a better place.”
Susan Sarandon (Louise) and Geena Davis (Thelma) in Thelma and Louise |
Guest post written by Sophie Standing.
Spoilers ahead.
Barbara Hershey and Bette Midler in Beaches |
Whoopi Goldberg, Mary Louise Parker and Drew Barrymore in Boys on the Side |
Geena Davis (Thelma) and Susan Sarandon (Louise) star is this 1991 epic. Whilst on a girly holiday, all goes badly wrong when Louise shoots and kills a man who is trying to rape Thelma. The rest of the film follows the ladies on the run, where nothing is more important than their loyalty to each other, and they are empowered by their freedom and refusal of male domination.
Peace, Love, & Misunderstanding, just had a sneak preview premiere in NYC last night hosted by Women’s Media Center. Sidebar, feminists swarmed Chace Crawford’s table. Starring Jane Fonda, Catherine Keener and Elisabeth Olsen, this looks great as it explores the relationship between 3 generations of women. And Jane Fonda plays a hippie. As a secret (or maybe not so secret) hippie myself, I’m curious to see if she will be a complex character or just a caricature. But I’m most interested to see how the gender and age dynamics between mother/daughter and grandmother/granddaughter will play out.
I’m not sure about 1 Out of 7 as it looks incredibly depressing but it’s great to see the underutilized Vivica A. Fox on-screen.
I also cannot wait to see Prometheus, which at first might not seem like a female-centric film (and who knows, maybe it’s really not). But with the astounding Noomi Rapace in the lead role, chameleonesque Charlize Theron in a supporting role, and directed by Ridley Scott — who continually professes his love for strong, intelligent female characters, has showcased “warrior women” throughout his entire career with Ripley, Thelma and Louise, G.I. Jane, and announced that the upcoming Blade Runner sequel will boast a female protagonist — I’m buoyantly optimistic.
Well, that’s my two cents. Which films are you excited to see??
Having recently returned to her native Italy after living in Switzerland for 10 years, quiet but curious 13-year-old Marta is left to her own devices while her loving but worn-out mother toils away at an industrial bakery. Marta’s only source of socialization is the local church, where she is told to attend preparatory classes for her confirmation. But the doctrines of Roman Catholicism offer little in terms of life lessons or consolation, and she quickly sees through the hypocrisy of the priest, who cares more about status than about his constituents. Eventually, Marta forges her very own way of the cross, which turns out to have much less to do with God than with her own climb towards adulthood. — (C) Film Movement
Greta Gerwig plays Lola, a 29-year-old woman dumped by her longtime boyfriend Luke (Kinnaman) just three weeks before their wedding. With the help of her close friends Henry (Linklater) and Alice (Lister-Jones), Lola embarks on a series of desperate encounters in an attempt to find her place in the world as a single woman approaching 30. — (C) Fox Searchlight
Lexi, seeking to escape her overbearing mother runs away to the streets of Portland, Oregon. Lexi searches for belonging, but her underground life crumbles when she finds herself alone and pregnant. Lexi turns to Devon, a woman with her own demons, and an emotional bond builds between them as Devon attempts to make up for past mistakes by nursing Lexi toward her impending delivery… — (C) Official Site
Directed by two-time Academy Award nominee Bruce Beresford, Peace, Love, & Misunderstanding stars Academy Award winning Jane Fonda, two-time Academy Award nominated Catherine Keener, international heartthrob Chace Crawford, and Sundance’s “breakout star” Elizabeth Olsen. A comedy about an uptight New York City lawyer who takes her two spirited teenagers to her hippie mother’s farmhouse in the countryside for a family vacation. What was meant to be a weekend getaway quickly turns into a summer adventure of romance, music, family secrets, and self‐discovery. — (C) IFC
Ridley Scott, director of Alien and Blade Runner, returns to the genre he helped define. With Prometheus, he creates a groundbreaking mythology, in which a team of explorers discover a clue to the origins of mankind on Earth, leading them on a thrilling journey to the darkest corners of the universe. There, they must fight a terrifying battle to save the future of the human race. — (C) Official Site
All film descriptions taken from Rotten Tomatoes.
Friday, May 25
Ida, a feisty and rebellious young girl, dreams of one day finding her father, a rodeo rider, whose identity her mom has kept from her. While searching for her dad at a local rodeo, Ida meets the Sweethearts of the Rodeo, a team of young female trick riders run by cowboy legend Terence Parker. Terence discovers that Ida is the grand-daughter of a friend who passed away years before, so he decides to help her. Ida joins the Sweethearts and embarks with them on a tour of rodeos throughout the west. Ida hopes to find her father, but she discovers much more, including a love for horses that redefines her life. — (C) Sense and Sensibility Ventures
Chely Wright: Wish Me Away is the story of Chely Wright, the first country music star to come out as gay. Over three years, the filmmakers were given extraordinary access to Chely’s struggle and her unfolding plan to come out publicly. Using interviews with Chely, her family, her pastor, and key players in Nashville interwoven with Chely’s intimate private video diaries, the film goes deep into her back story as an established country music star and then forward as she steps into the national spotlight to reveal her secret. Chronicling the aftermath in her hometown of Nashville and within the larger LGBT community, Wish Me Away reveals both the devastation of her own internalized homophobia and the transformational power of living an authentic life. — (C) First Run
Like every morning, Madalena makes bread for Antonio’s old coffee shop. Like every day, she crosses the railways where no trains have passed for years; she cleans up the gate of the locked cemetery, and listens to the priest’s sermon before sharing lunch with the other old villagers. Clinging to the image of her dead husband and living in her memories, Madalena is awakened by the arrival of Rita, a young photographer who is arriving in the ghost village of Jotuomba, where time seems to have stopped. A deep relationship is forged between the two women, which gradually builds to have a profound effect on both of their lives, as well as the rest of the villagers. — (C) Film Movement
The ubiquitous pink ribbons of breast cancer philanthropy and the hand-in-hand marketing of brands and products associated with it permeates our culture, providing assurance that we are engaged in a successful battle against this insidious disease. But the campaign obscures the reality and facts of breast cancer, more and more women are diagnosed with breast cancer every year, and face the same treatment options they did 40 years ago. Yet women are also the most influential market group, buying 80 percent of consumer products and making most major household purchasing decisions. So then who really benefits from the pink ribbon campaigns – the cause or the company? — (C) First Run
In the epic action-adventure Snow White and the Huntsman, Kristen Stewart plays the only person in the land fairer than the evil queen (Charlize Theron) out to destroy her. But what the wicked ruler never imagined is that the young woman threatening her reign has been training in the art of war with a huntsman (Chris Hemsworth) dispatched to kill her. Sam Claflin joins the cast as the prince long enchanted by Snow White’s beauty and power. — (C) Universal Pictures
All film descriptions taken from Rotten Tomatoes
What to Expect When You’re Expecting
Over the moon about starting a family, TV fitness guru Jules and dance show star Evan find that their high-octane celebrity lives don’t stand a chance against the surprise demands of pregnancy. Baby-crazy author and advocate Wendy gets a taste of her own militant mommy advice when pregnancy hormones ravage her body; while Wendy’s husband, Gary, struggles not to be outdone by his competitive alpha-Dad, who’s expecting twins with his much younger trophy wife, Skyler. Photographer Holly is prepared to travel the globe to adopt a child, but her husband Alex isn’t so sure, and tries to quiet his panic by attending a “dudes” support group, where new fathers get to tell it like it really is. And rival food truck chefs Rosie and Marco’s surprise hook-up results in an unexpected quandary: what to do when your first child comes before your first date? — (C) Lionsgate
A journalist covering police assigned to a juvenile division enters an affair with one of her subjects.
The Color Wheel is the story of JR, an increasingly transient aspiring news-anchor, as she forces her disappointing younger brother Colin to embark on a road trip to move her belongings out of her professor-turned-lover’s apartment. Problem is, these grown up kids do not get along, and are both too obnoxious to know better. Chaos and calamity are not far behind her beat up Honda Accord. Too bad that nobody else in the world can stand either of them. Not Colin’s neglectful girlfriend, nor JR’s former high school friends, nor strangers they clash with at pretty much every step of their hopeless and increasingly infuriating voyage of frustration, failure and jerks. It can only be a matter of time before JR and Colin arrive at the strangest and most unsettling of resolutions and put to rest their decades of animosity, half-baked sibling rivalry and endless bickering. Resting uncomfortably somewhere between the solipsistic, unrepressed id of late Jerry Lewis, and the confrontational pseudo-sexual self-loathing of Philip Roth and shot on grainy 16mm black and white evoking the motels, diners and loners of Robert Frank’s America, The Color Wheel is a comedic symphony of disappointment and forgiveness.
When newlywed Molly Reynolds returns to her long-abandoned family home, reminders of a nightmarish childhood begin seeping into her new life. A malevolent force, whether her own haunted past or some supernatural ‘thing,’ tirelessly seeks to overwhelm her. Alone and isolated in a centuries-old manor, she soon begins an inexorable descent into depravity. Somewhere in the house, in the terrible space between psychosis and possession, lies an evil that will pull Molly and all those around her into darkness and death. — (C) Official Site
A single mother struggles to raise her son Emmett while dreaming of escaping her small Southern boardwalk town. Her long time affair with the very married, Mormon Sheriff Richard Tipton is thrown into question when he decides to run for public office. Things are further complicated when Emmett begins a romantic relationship with Tipton’s daughter. Virginia and the town-populated by Amy Madigan, Toby Jones, Yeardley Smith-are full of secrets and everyone knows Virginia can only keep things together for so long. Virginia is a funny, touching drama that looks at the American Dream and what it takes to keep it together. — (C) Official Site
Hysteria is a romantic comedy with an accomplished cast led by Maggie Gyllenhaal, Hugh Dancy, Jonathan Pryce, Felicity Jones and Rupert Everett, that tells an untold tale of discovery – the surprising story of the birth of the electro-mechanical vibrator at the very peak of Victorian prudishness. — (C) Sony Classics
Diana Vreeland: The Eye Has to Travel
A portrait of legendary fashion magazine editor Diana Vreeland. She was one of the twentieth century’s greatest arbiters of style who dazzled the world with her unique vision of style high and low.
Movie poster for The Lady |
This piece by Jarrah Hodge is cross-posted with permission from her blog Gender Focus.
The movie opens in 1947 with the assassination of General Aung San, Suu Kyi’s father, who had just negotiated Burma’s independence from Britain. While it’s a poignant scene and crucial historical event it’s really all we see of Suu Kyi’s early life.
From there we go forward to meet the main characters in the movie’s romance, Suu Kyi (played by Michelle Yeoh) and her professor husband Dr. Michael Aris (David Thewlis). They and their two sons are living in Oxford when she receives the news that her mother has had a stroke. When she returns to Burma she witnesses the military-run government massacring protesting students in the streets. When she is then approached to lead a pro-democracy movement she decides to stay.
From this point the film becomes a bit plodding, seeming a bit like a visual representation of an encyclopedia article. It moves through every interaction Syu Kii has with the military junta and their attempts to intimidate and imprison her and her followers, leading to her 15-year house arrest and years of separation from Aris and their children. While we also see Syu Kii touring the country and speaking to locals about democracy, for the most part her Burmese allies and followers in the film remain nameless and voiceless.
Ultimately while the film brings the audience to tears more than once, it’s not over the plight of Burma or ordinary Burmese citizens, but over Suu Kyi and her husband’s drawn-out separation.
That’s where I thought the focus did the subject an injustice. Interestingly, The Lady could be said to suffer from some of the same issues as The Iron Lady, which was also a movie about a woman politician that was criticized for being more concerned with sentimentality than political substance.
In some ways, though, The Lady has less excuse for this. Thatcher is elderly and ailing now but Suu Kyi is still fighting a crucial fight. It’s clear from the rallying cry at the end of the movie that one of the film’s goals is to get Westerners more involved in aiding the continuing fight for true democracy in Burma (Aung San Suu Kyi will finally take the oath of office to sit in the parliament this year, though the current structure still ensures the military maintains majority control and human rights violations continue). However, this could have been further advanced by giving voices to the Burmese non-military characters other than Suu Kyi: the students being massacred in the streets, the villagers in rural areas, and the monks who joined the protest.
As Yeoh’s Suu Kyi says in the film, she dislikes the cult of personality around her, and yet that’s what the movie reinforces by failing to broaden the depiction of the struggle. At the same time, it also in some ways diminishes her strength by tieing her identity so strongly to her family. At a couple points in the film people mention a lack of experience before coming to Burma, saying she was just an “Oxford housewife and mother of two”, not mentioning she also had a PhD, extensive academic honours, and had worked at the UN.
Would I recommend the movie for someone who had only a cursory knowledge of the situation in Burma? Yes. But Do I think it featured a strong woman role model and did justice to Aung San Suu Kyi’s cause? Not as well as it could have.
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Abortion is a legal medical procedure, and it’s presented as such in this film. That alone is a welcome change–as others have stated–from recent film and television. Obvious comparisons have been made to Knocked Up and Juno, as both completely failed in their representations of options for a woman facing an unplanned pregnancy (the former refusing to even speak the word abortion, and the latter representing a dumpy and disturbing clinic).
The star of Obvious Child, Donna (played by Jenny Slate), is a freelancer who lives in hipster Brooklyn. Others have mentioned the “indie sensibility” of the film, and Donna is the kind of privileged hipster many of us love to hate–and she’s a little bit like Juno in this regard, with toned-down dialogue and ten years added. She has an immature sense of humor (her use of “fart-face” and “fucktard” come to mind), and she just wants to go out and have a good time after the ugly end of her two-year relationship with Joe.
Written by Megan Kearns.
After media speculation over her allegedly “puffy face” caused a “viral media frenzy,” actor Ashley Judd decided to speak out against the media’s misogynistic accusations. Beyond her career as an actor, Judd is a humanitarian and philanthropist, a global ambassador for YouthAIDS and a Harvard graduate. The feminist activist — who dialogues about rape culture and proudly supports reproductive justice — confronted sexism, patriarchy and the media’s incessant scrutiny of women’s faces and bodies. In Judd’s must-read post for The Daily Beast, she writes:
“The Conversation about women’s bodies exists largely outside of us, while it is also directed at (and marketed to) us, and used to define and control us. The Conversation about women happens everywhere, publicly and privately. We are described and detailed, our faces and bodies analyzed and picked apart, our worth ascertained and ascribed based on the reduction of personhood to simple physical objectification. Our voices, our personhood, our potential, and our accomplishments are regularly minimized and muted.”
Love, love, LOVE this! I mean, who the hell cares if an actor has gained weight? Judd shouldn’t have to justify or defend her appearance. The media needs to cease the destructive commentaries and obsessive deconstruction of women’s bodies, debating whether or not a celeb has gained weight or had plastic surgery. And don’t even get me started on those god awful “baby bump patrols” in the tabloids. Bleh.
Controlling women’s bodies consumes our sexist and ageist society. Women obsess over their appearance because they see unhealthy and unrealistic depictions of female actors and models in film, TV, magazines and on billboards. Photoshopped faces and bodies saturate the media, creating unattainable images of beauty. We’re supposed to wax and tweeze body hair, slather on age-defying creams, diet and exercise curves into submission. Between diet books, exercise DVDs, weight loss shakes, low-fat foods – the dieting industry is a money-making juggernaut. And it’s geared towards women. On the flip side, the media chastises women for being too bony or thin. The media constantly dissects, critiques and polices women’s bodies.
In her Daily Beast article, Judd also succinctly defines patriarchy, reminding us that men aren’t the sole perpetrators of sexism. Women are too:
“That women are joining in the ongoing disassembling of my appearance is salient. Patriarchy is not men. Patriarchy is a system in which both women and men participate. It privileges, inter alia, the interests of boys and men over the bodily integrity, autonomy, and dignity of girls and women. It is subtle, insidious, and never more dangerous than when women passionately deny that they themselves are engaging in it.”
Judd couldn’t be more spot on. Patriarchy puts the needs of white men and boys first. Patriarchy silences and constrains women and girls yet makes them culprits in policing other women’s bodies and behavior. Women need to stop tearing down other women.
It’s interesting Judd’s patriarchy media manifesto comes out right after some asshole critics deemed Jennifer Lawrence’s body too fat, too curvy and not emaciated enough to play Hunger Games’ Katniss from the starving and impoverished District 12.
The New York Times’ Mahnola Dargis claimed “her seductive, womanly figure makes a bad fit for a dystopian fantasy about a people starved into submission,” The Hollywood Reporter’s Todd McCarthy commented on her “lingering baby fat,” Hollywood Elsewhere’s Jeffrey Wells accuses Lawrence of being “big-boned” and “seems too big for Hutcherson” as male romantic partners should at least be as tall as their female counterparts (I shit you not).
Thankfully, others like Melissa Silverstein at Women and Hollywood, Slate’s L.V. Anderson, LA Times’ Alexandra Le Tellier, LA Times’ Patrick Goldstein, as well as many others have called out this bullshit bodysnarking. Jennifer Lawrence, who chose not to diet for the role (good for her), has also apparently laughed off the media’s criticism of her body.
And of course there’s been an onslaught of racist commentary surrounding Rue. Her character’s innocence and purity and the audience’s ability to empathize with her apparently went out the window the minute racist filmgoers saw a Black girl.
Sophia Savage for Thompson on Hollywood points out that audiences called Kate Winslet “too fat” for the 3-D rerelease of Titanic. Winslet “responded that she’s now thinner than co-star Leonardo DiCaprio.” Winslet has spoken out about her weight and body image before, particularly her disdain for magazines’ overzealous photoshopping to make her look unrealistically thin. And I remember when Titanic originally premiered in 1997, audiences and film critics taunted Winslet’s weight. Clearly some things don’t change. Sigh.
But cruel commentary on women’s appearances isn’t just reserved for those in Hollywood. And not everyone can just shrug off the media’s mockery. Conservative pundits Glenn Beck and Laura Ingraham as well as others in the media have skewered columnist and blogger Meghan McCain for her weight and appearance. McCain said that it’s as if “all women in the media should lose a bunch of weight if they want to go on television to talk about anything.” She admitted she’s seen a therapist because of the media’s “really weird reaction” to her body. Omg I don’t blame her — I freak out when someone doesn’t like one of my blog posts! And of course I’ll never forget the horrific misogynistic dissection of both Hillary Clinton and Sarah Palin (their clothes, hair, bodies, faces, sexiness) during the 2008 presidential election.
We don’t see this level of relentless scrutiny and bodysnarking of male bodies. Women and girls are continually held up to unattainable toxic beauty standards, punished and criticized if they transgress these warped norms. A positive body image eludes many of us as a result. We can be anything we dream of, so long as we’re thin and sexy — and of course “sexy” means white women with long-flowing hair. Society continually places importance on womens’ and girls’ appearances over their merit and intellect, reducing us to sex objects. The media tells us our value and self-worth reside in our beauty.
Having met Ashley Judd on a few occasions, I can say she is every bit as impassioned in person as she appears in-print or on-screen. We need more celebs — like Judd, Geena Davis, Kerry Washington, Martha Plimpton, Margaret Cho, Jennifer Siebel Newsom, Roseanne Barr — who are outspoken staunch feminists, unafraid to call out sexist bullshit. We all need to challenge the media’s misogynistic attacks on women’s bodies.
Image by the U.S. federal government via the public domain in the U.S.
Queen Latifah, Kimberly Elise, Vivica A. Fox, and Jada Pinkett Smith in Set It Off |
Jessica, on Fat Acceptance: Fat acceptance is just the radical idea that every body is a good body and that regardless of your shape or your size that you deserve just as much respect as the next person.
Keena, on Fat Acceptance: Fat acceptance is just accepting your body where it is at. Whether you’re bigger or you’re smaller. Just accepting what it is, your arms, your double chin, your thighs, and just not worrying about how other people may view you.
Click here to read the full piece and to watch The Fat Body (In)Visible.