The weather is officially absurd: Cape Town traditionally does February heatwaves, but usually not for so long, or so hot. It was pushing 40 for a couple of days, and I survived the weekend only by spending a portion of it submerged in jo&stv's pool, sipping champagne. I'm insomniac and headachy and stressed and tend to lie awake in my superheated bedroom panting gently and wishing for a nice comfortable death, preferably by hypothermia or freeze-ray. It's like the sultry heat before a highveld storm, only continuously, relentlessly, and without the catharsis of the actual rain. Am not happy. Am clearly on the wrong continent. I know the northern hemisphere is having a horrible winter, and I'm sorry if you're frozen or flooded or snowbound, but honestly, this is its own kind of unspeakable.
I shall proceed to avoid the horror by somewhat belatedly chronicling our last Movie Club, which was the weekend before last. Jo's choice: theme, Abused Sexualised Girls Strike Back And Kick Butt, although to variable effect. The films, in a classic whiplash configuration, and encompassing frankly improbable extremes in terms of thoughtfulness and political acumen: Sucker Punch
, and Hard Candy
is a terrible film. I'm really glad to have seen it, because as a pure distillation of ingrained Hollywood sexism and exploitation it's an extremely powerful document, but it's an astonishingly bad piece of storytelling. I have to admit it has a certain amount of visual style and the germ, somewhere in the putrid depths, of a potentially interesting idea, but it's otherwise without redeeming feature. The most terrifying thing about it is, I think, the fact that watching it gave me the sneaking, inescapable fear that Zach Snyder, its perpetrator, is actually under the delusion that he was celebrating female empowerment. Which he really wasn't. The premise involves skimpily-clad girls incarcerated in a variety of institutions under highly sexualised threat, and escaping from it into layers of fantasy in which they fulfil video-game-style quests with the maximum possible amount of stylishly-shot action sequences, guns, swordfights, leering villainy and massive explosions. Given that the film skips between giant samurai statues, Nazi steampunk zombies, orcs, dragons, planes, zeppelins and Bioshock-style Big Daddies, the whole thing boils down to what Stv defined as "MashCeption: The Music Video". Or, possibly MashCeption, the Video Game. Something entailing lots of mash-ups and multi-levelled dream sequences and loads of visual style at the expense of plot, at any rate.
And in the final analysis it's about absolutely the opposite of female empowerment. It does no good whatsoever to take abused women and give them big guns and swords and allow them to kick butt if (a) all said women are vacant, childlike blanks whose abuse at the hands of lecherous monsters is dwelt on with slavering fascination, (b) they're all hyper-sexualised and skimpily if not fetishistically clad, (c) their every move in the "empowering" fantasy is dictated by benevolent, rescuing male figures, (d) the bulk of them end up dead, and (e) the whole thing is shot like a particularly hyperactive and clichéd wet dream. It's ultimately a deeply ugly film that spat me out the other end in a state of stunned disbelief. But also with a sort of horrible satisfaction, because after all the film simply takes to the logical extreme the kinds of objectifications and exploitations which are actually at the heart of a frighteningly high proportion of Hollywood blockbuster movies, in which women are ravaged, empty things splayed across the screen for the gratification of a gaze which is assumed to be entitled, unconstrained, heterosexual and male. Our cultural systems are pretty broken; this film should not be excoriated as an aberration but as a symptom of a system whose darker corners, thus mercilessly exposed, are nauseating. Hard Candy
is a very good film. We watched these in the right order, because after Sucker Punch
it was a bracing blast of fresh air. Its take on the theme highlights Sucker Punch
as the bizarro mirror world thing it is: Hard Candy
is still about male sexual predator versus pubescent girl, but the power poles are ruthlessly dissected, examined and reassembled. I'm not going to talk about the film's plot detail, because its effect is very spoiler-vulnerable, but it's exquisitely cast, shot, paced and constructed. Compared to the gratuitous CGI sprawl of Sucker Punch
it's a minimalist work of art, effectively two characters and one set. Ellen Page is revelatory (also, mad props to Ellen Page for her recent coming out as gay, both a brave and an important thing), and Patrick Wilson is as good as he always is, which is very. The cinematography is amazing: the house which forms the set is all clean lines and modern, blocky colours, and the camera lingers on these for moments of full-screen primary colour which punctuate and pace the action, underlining the film's overall mood of analytic contemplation. It's also a very tense viewing experience, full of build and shock and horrified expectation and, I have to say, a fair amount of vindictive satisfaction.
Watching it in tandem with Sucker Punch
highlights the differences, particularly the extent to which Page's character is almost entirely unsexualised, with a matter-of-fact thoughtfulness about her which undercuts potentially flirty moments and allows her to swing between childlike innocence and tomboyish determination. But the juxtaposition also demands that the film be subjected to the same questions: is this about female power? does it escape the exploitative presentation of women seen in the blockbuster? And of course you have to be aware that the highly-charged power relationship the film depicts is fully capable of being sexualised even given Page's performance; of mining the young body under the lens for purposes of titillation rather than thought. It also, despite the film's plot twists, runs the risks of demonising the victim, presenting her as damaged and inhuman: the film's violence is both more restrained and more real than Sucker Punch
's. But on the whole I think my vote is for success rather than failure on political grounds. It's an uncomfortable watch, but for the right reasons - because it shakes up your assumptions, explores and redefines rather than adopting, externalises the rot in our cultural constructs rather than either eliding or exploiting them. I'm not sure "enjoyed" is the right word, but this is a good film, and I respect and admire what it achieved. Although, my pervy fairy-tale fancying heart being what it is, they could have done a lot more
with the Red Riding Hood motif. I'm just sayin'.
My subject line is from the Eurythmics, "Wide Eyed Girl", mostly because I automatically think of Annie Lennox when I think of women kicking butt. Also Buffy, River, Phryne Fisher and Captain Marvel, but song lyrics are traditional.