Maleficent Leading Ladies

Whilst the Brothers’ Grimm are undoubtedly among history’s greatest storytellers, their stories proffer traditional gender roles. Sleeping Beauty is one such story that promotes a pretty archaic view of women by today’s standards. Maleficent, the remake of Sleeping Beauty is thus a strange place to seek a feminist manifesto, but that is exactly what I found whilst watching it. The movie is far from good, but it does take the original story and inject some much needed feminist-revisionst flavour. My male movie buddy, whilst agreeing that the movie was terrible, failed to understand why I was so excited to see the fairytale flipped and a strong, multifaceted female character as the lead in a movie. This led to a ‘heated debate’, some dangerous ideas and me pondering the archetypal woman in the wee hours of the morning.

Sleeping BeautyMy aforementioned movie buddy kept insisting that many movies have strong female leads (citing Frozen, Salt and numerous rom-coms as his evidence) and generally arguing that people prefer to watch men in save-the-world-superman-type roles as males are physically the stronger sex and it’s therefore more realistic (particularly for comic-book heroes). I huffed and puffed and…went home to do some research.

Did you know there’s a thing called the Bechdel test? I didn’t. It basically tests to see if a movie has two named female characters who talk to each other at some point about anything other than a man. I initially thought this is setting the bar ridiculously low, however to my surprise (and disappointment) the majority of top-grossing films do not pass. Yes, you read that correctly, the majority do not pass. The entire Star Wars series, the Lord of the Rings trilogy (including the Hobbit), and all but one film in the Harry Potter series fail. In The Empire Strikes Back, Princess Leia is the only named women in the galaxy and is the love interest of both male protagonists, Han and Luke. For all of Leia’s strengths and progressive leadership dialogue, she spends an awful lot of time getting saved or kissed. Make of that what you will.

More recently, despite being nominated for best picture this year both The Wolf of Wall Street and Her fail and the only reason American Hustle passed is due to a 10 second conversation between Jennifer Lawrence and Elisabeth Röhms characters about nail polish. You might be surprised that other hit movies such as Avatar, The AvengersThe Social Network, The Lone Ranger and Run Lola Run (despite Lola being considered one of the more well rounded female characters ever put to film) also fail. Yet, when you reverse the criteria and perform the Bechdel test on male characters, it is almost impossible to find a movie that doesn’t pass.

Possibly even more worrying however, is that in movies where females have a role (leading or not), they play to an archetype being either the innocent virgin maiden, the temptress or the evil witch. Most often, it is a male hero who drives the storyline while his female opposite has already been branded as a sinner or saint, Madonna or whore – according to her moral sins or virtues. The hero however is free to be complex and flawed whilst he navigates these archetypal women.

WonderWoman

Briefly going back to comic book movies, which my movie buddy was staunch in defending, it is interesting to note that whilst the likes of Batman, Spiderman and Superman have been rebooted numerous times, Wonderwoman and Catwoman have not. Again, the majority of these stories utilise the saving of the ‘damsel in distress’ to show the heroes worth. In many cases, a single man saves the known universe whilst all that is good and pure is symbolically embodied by the rescue of the single virgin/Princess Leia character who cannot fend for herself. Basically, a woman who is anything other than a love interest, who needs rescuing (or a sexual conquest in the case of Bond) is considered progressive, much like the ‘feline fatale’ Catwoman was when she first appeared in 1940 (she only had to wait 64 years to get her own movie). It’s interesting to note that Bob Kane, the creator of Catwoman said this:

I felt that women were feline creatures and men were more like dogs. While dogs are faithful and friendly, cats are cool, detached and unreliable…cats are hard to understand as women are…You always need to keep a women at arms length. We don’t want anyone taking over our souls, and women have a habit of doing that.

I’m not calling for existing super heroes to change genders, but is it so impossible to imagine they become involved in differing and more creative story lines? Why not have Mary Jane help Spiderman save the world rather than be the one in need of saving, or invent a new female superhero to join the Avengers? Is it really such a radical idea?

According to an analysis of 2013’s fifty most successful blockbusters, films with a better balance of women made more money overall, so there is a strong audience for such changes in film to occur.
Whilst I’d agree with my movie buddy that women’s roles in film have gradually changed, what is important here is not the exception to the rule, but the dominant rule itself. Old ideas are given weight through repetition, until over time they come to form popular notions about the essential human struggle. Yes, Maleficent was more well-intentioned than accomplished but it was at least original and went against tradition; a rare feat it should be applauded for.

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