Hobbitmania!

Here’s my take on The Hobbit trilogy, or Why I Don’t Actually Care Whether Or Not Peter Jackson Is Manipulating Me For My Money.

I’ll admit I was rather cynical when news first dropped that The Hobbit would be in two parts. Ever since HP7, it seems every studio is realizing they can exploit fans into spending more money without getting better movies in return. And, though I may love Tolkien, The Hobbit isn’t quite as long or complex as would justify two films. Then the cast list appeared, and I began to realize this adaptation might not just be The Hobbit. Otherwise, what are people like Galadriel and Saruman doing in it?

Now that it’s been confirmed that The Hobbit is becoming a trilogy, it’s also clear what else Jackson et al. are using as sources, namely appendices from LOTR. Some people are complaining that this somehow devalues The Hobbit as a work on its own, others are just too mad about the existence of a third movie to really say much else.

But you know what I say? Bring on the trilogy. Yes, I’m skeptical of the idea that Jackson et al. just thought they needed more time to tell the story, that money didn’t even sort of cross their minds. But honestly, I don’t even exactly know what that story is, other than that it’s based partly on The Hobbit and partly on LOTR appendices. So I’m giving them the benefit of the doubt here, especially because Peter Jackson is like Christopher Nolan in that he’s completely incapable of making a movie that’s shorter than two and a half hours. So it’s possible he really does think he doesn’t have enough time.

You know what else? Three movies gives me three opportunities to dress up like a dork at a midnight showing with BatCat here. And it gives me three opportunities to see Aidan Turner’s beautiful face (even covered in dwarf beard) on the big screen. It gives me one movie to be really excited about, each year for the next three years.

So maybe I’m just being an easily-duped Tolkien fan, and maybe those aren’t good enough reasons for me not to care, but I’m completely indifferent to what Jackson et al’s reasons are for making The Hobbit into a trilogy. I just want good movies. And if the Peter Jackson team delivers with The Hobbit like they did with LOTR, I’ll be more than happy to spend my money on all three movies.

-Joanna

Gender and Creation in Prometheus

My quick, spoiler-free review of Prometheus goes something like this: It was incredibly enjoyable, despite a few minor script-related flaws. I want to write books and books of feminist analysis about it, and I plan on seeing it several more times. It was one of the best movies I’ve seen in a while, partly because it managed to deeply disturb me while also raising fascinating questions about creation, creators/the created, and the place of gender in all of this. 8.2/10

Now for the in-depth, spoiler-ridden version:

The difficulty of writing this post

This post has gone through several re-writes, way more than I usually bother putting in for a blog post. (Sorry, blog and blog readers, you’re unique and special and deserve good writing, but I don’t have the time to write the same blog post five times every week.)

The issue wasn’t so much that I couldn’t find the best way to order and phrase my thoughts, though that was certainly a factor. The issue was that, initially my impulse was to write this grand, feminist psychoanalysis of the film, because, after the credits started rolling, that’s exactly what I felt it deserved.

But then I went on the internet. I found out that for whatever reason, Prometheus was as viciously polarizing as Pepper Potts wearing denim shorts around her house. Probably more so. So then I thought, even if it means dumbing down the blog, I must point-by-point defend the (often hyperbolic) attacks on this film! People are overreacting, and damn it I will stop them!

But then I realized that IMDB is IMDB, and me posting that the critics are allowed to dislike the film, but they need to relax about it because this was hardly the worst movie ever, really isn’t going to change much. It definitely won’t change the minds of ultra-super Alien fans who probably wouldn’t have been happy with the film regardless. So now this post is a hybrid analysis/defense/general speculation collection. Enjoy!

All these questions!

One of the primary criticisms launched at the movie is: plot holes/they raised all these questions that were never answered! I think this is partly because Damon Lindelhof is an easy target, having been one of the writers responsible for ruining one of my formerly favorite shows with total nonsense.

One of the enormous problems with Lost was that the writers became infamous for introducing a whole bunch of bat-shit things that they never explained. So from now on, every time Lindelhof writes a script that doesn’t explain every single thing, people are going to wave the Lost flag all around.

I’m not going to say this is entirely unfair. After all, my bitterness about Lost runs so deep that whenever I see that a former writer for or producer of Lost is working on a project, my instincts tell me not to bother. So I can understand where people are coming from. However, there is a major difference between the questions that Lost didn’t answer, and the questions that Prometheus didn’t answer.

Lost made you ask questions like, Where did that polar bear come from? Why are they weaving that tapestry? Wait, so who’s Jacob? Are they all dead? These are all storyline and plot-related questions; questions the writers should already know the answers to. Unless I’m forgetting some major unexplained plot points, the questions raised by Prometheus were more like, What is the purpose of creation? How do the created react when they encounter their creators, and vice versa? How does this relate to real-life parent-child interactions? These are fascinating, thematic questions, ones that I’m sure Damon Lindelhof doesn’t have the answers to. Because no one does. I would have found it condescending of him to attempt to answer these questions, as though he is somehow privy to the secrets of the universe.

There were a few storyline-based questions I had (i.e. what David’s motivation was for putting the worm thing in Charlie’s drink), but I still had enough evidence from the film to allow me to arrive at a few possible conclusions. I may have wanted one particular motive to be hinted at the most, but I’m also content with being able to choose which one I prefer. Similarly, both sides of the “is Vickers a robot?” debate have plenty of logical arguments in their arsenals. Giving the potential for many answers is not the same as giving no answers.

Blah blah realism

Another accusation pointed at the film surrounds the believability or realism of various characters/situations/motivations. This is usually my least favorite criticism of films and books, and it remains so for Prometheus. Ignoring the debate as to whether a scientist actually would approach a strange, seemingly hostile creature on an alien planet, etc., I have this question to pose: Honestly? If we’re going to talk about realism… what is realistic about Ripley taping her two guns together at the end of Aliens? Furthermore, why do I even care about whether or not Ripley could feasibly tape together and carry around two heavy guns, and then fire them? It was incredibly badass when she did. Similarly, I don’t really care how after a present-day Cesarian, no one could run around and what not. Not only is this the future, but it looked badass as hell! I don’t care if Shaw would have been, realistically, fainting or stumbling everywhere or dying out of exhaustion. This is a movie, not real life. And if Ripley is allowed to tape two guns together, Shaw is allowed to run around and be awesome after just having a Cesarian.

Body autonomy, gender issues

This now-infamous Cesarian scene was one of my favorite scenes in any movie. Everything about that scene was horrifying. My mouth hung agape as I watched, and I have a fairly high tolerance for gross things. What I found even more intriguing about the whole situation is how it reflects and comments on the current state of women and healthcare.

This picture describes the current state of women and healthcare.

Like many authoritative men with ulterior motives, David was being rather shifty in giving Shaw all the information about her pregnancy. He was uninterested in giving her a clear-cut objective answer to her questions and request to see the fetus. When she demanded to have the fetus removed, she ultimately had to do it herself because he would not, even though it posed a health risk to her. Sound familiar? Of course, it wasn’t necessarily an abortion, but the subtext of the ability of women to make their own health-related choices despite facing resistance from men was definitely there.

Which brings me to how this “health-related choice” was described as a “Cesarian” (terminology I’m using for the sake of clarity and because I’m on the fence about the whole “abortion” thing). Right before Shaw told the machine the procedure she wanted, I was practically on the edge of my seat waiting for her to say “abortion.” But she doesn’t. She chooses a Cesarian, not an abortion. While that doesn’t erase the fact that Shaw still chooses not to be pregnant, I think it it’s a significant point. Abortion or not, the fact is that she, despite David’s efforts, chooses to be un-pregnant and will be damned if he stops her.

Furthermore, the med pod being programmed only for men’s bodies is a larger statement on the healthcare system in general. The American healthcare system refuses to acknowledge the existence and particular needs of women by allowing special interest groups (like David) to get involved by telling women what they do and do not want to do with their bodies.

So even though that scene grossed me the fuck out, I was cheering for Shaw not just because I didn’t want her to die, but I didn’t want anyone telling her she couldn’t have a life-saving medical procedure done to her body. Of course, the fact that birth/quasi-birth scenes are usually portrayed in film as disturbing and traumatic definitely underscores the idea that to men, the female body is mysterious, terrifying, and very much an Other. The female body is a disturbing place full of gory weirdness. Alyssa Rosenberg at Think Progress made an interesting point about this scene, which was evidently why the rating got pushed from PG-13 to R: “It’s funny, how we have a tendency to treat damage done to women by other people as less threatening than women asserting their own autonomy over their bodies.”

Creation

In addition to raising questions about women’s body autonomy, the movie raised interesting questions about creation and the creators/created. What is the purpose of creation? For what reasons do entities create? What do they intend to do with the created? How do the creators treat their creations? How do creations treat their creators? Is it worth knowing who created you and why? These questions are developed not only through the human quest to discover the Engineers, but through David’s unusual position as quasi-human created by humans. I could write a book on all the fascinating things about David’s character, but I think that deserves a separate post. Suffice to say that, just as sometimes your creators don’t turn out the way you hoped, the same happens to your creations. When David says, “Doesn’t everyone want to kill their parents?” I could have stabbed out my eyes with Freudian excitement (ha, Oedipus joke, get it?). That comment alone significantly raised the quality of the creation subtext.

The questions about creation can all be further applied to gender theory, since women are traditionally seen as the creators. (Despite Judo-Christianity telling us that a man made the universe.) Speaking of that: the gender or lack thereof of the Engineers is rife for exploration. Were they actually intended to look male? We saw no genitalia, but the Engineers certainly had a typically masculine look to their bodies. Was this an attempt at gender-neutrality, or were we supposed to assume they were in fact male? If they were genderless, we would need to decide why a genderless race would create a gendered species. If they were intended to be male, we would need to figure out why female Engineers were absent, other than because Hollywood is sexist. Was it an intentional inversion of the typical notion of women as creators? Was it a thoughtless omission of women? Was it meant to make a statement about patriarchy? I can’t really answer any of those questions, but I find them interesting to consider.

Men with boobs

One final gender-related thought: There were some complaints that Shaw is nothing to Ripley, Shaw’s two-dimensional, would get her ass kicked by Ripley, etc. etc. Ignoring the obvious “she wasn’t supposed to be Ripley” and “I don’t see why Ripley would fight Shaw unless Shaw started murdering her crew” arguments, I’d like to pose a question: Are those people angry because Shaw isn’t Ripley, or are they angry because, unlike Ripley, Shaw displays more “feminine” characteristics?

I like Ripley, I like her a lot. In fact I love her. I think she’s one of the greatest examples of how to write an effective female lead in an action role. Effectively, Ripley is gender-neutral in Alien. We don’t see her being overly-macho/purposefully unfeminine (see: Men with Boobs) or being overly feminine. Even the motivation in Aliens of saving a child is sometimes shared by male leads.

More women in movies should look like this.

However, Shaw is very much a woman, sometimes doing the kinds of things that men mock women for doing. She cries about being infertile (this was actually a scene I hated, but not exactly because of what she was doing), she has a visible male love interest, she displays the irrational aspect of negative female stereotyping because she holds on to her faith, etc. And, as important as un-gendered female action stars are, it is perhaps even more important to write action protagonists who are consciously women. I mean to say that instead of ignoring the fact that the character is female, embracing her feminine qualities, for example the ability to create life (another big theme in Prometheus). Now, this isn’t to say that I think all female action stars should paint their nails while wearing frilly pink dresses and reproducing. They don’t have to be caricatures of femininity, and certainly the apparently inherent link between women and motherhood is one that not all women desire and does not describe all women’s experiences with femininity. I’m simply saying that I commend Prometheus for being daring enough to occasionally remind the audience that the hero was a heroine, rather than ignoring it.

Furthermore, the fact that some people mocked Shaw for not being supa-tuff like Ripley reflects the way society stigmatizes female and/or feminine behavior. They don’t want to see a woman in an action role acting like a woman. They want to see a woman in an action role not acting like a woman.

There are practically a million other things I’d like to say about this movie, and about gender in it. Perhaps, upon a second viewing, I will revisit this topic for a later post, one that includes Vickers.

But for now, I a million percent agree with Tally Art:

-Joanna

Avengers Assemble!

Hey, look, a new Avengers trailer!

 

And a new poster to go along with it:

(In case you’re like WTF, Avengers Assemble?, it’s the UK title, to avoid confusion with another movie called The Avengers.)

First of all, I think the new poster is a little boring. It’s only better than the first one because Black Widow’s not stuck in some impossible pose. I’m not a big fan of the “everyone looking different directions” effect, and why so much emphasis on Robert Downey Jr.’s face? (I know the answer to that question, but still.)

To return to the trailer: I’m glad to see that there will be some tension in the group (as seen when Iron Man and Thor go to superhero fisticuffs). I’m hoping that’ll add some depth to the story and its conflicts, since Loki is the main bad guy. I think that, generally, Joss Whedon is good at handling tension within allies, so I have high hopes for that part of the movie.

I’m also slightly more sold on the idea of Mark Ruffalo as the Hulk. I’m still lukewarm to the idea of the dopey everyman playing Bruce Banner, but it seems like less of a bad idea than I thought at first. There is nothing wrong with Mark Ruffalo. But my mind was blown whenever he was announced as the new Hulk. I’d still like to know why he was considered in the first place.

Other things I’d like to know: Did Thor’s hair get longer? Or just wavier? Why is it so pretty anyway? How large a role will the Black Widow and Hawkeye have? What crowd was that after the shot of Loki? And what’s that giant, potentially really awesome thing at the end? Why did Thor and Iron Man go to superhero fisticuffs, anyway? Was it because Thor wanted to save the whales, and Iron Man thought this wasn’t the time?

With luck, May 4 will answer all those questions, and some I didn’t even think of.

-Joanna

Wonder Women!

If you’re interested in finding a timely, relevant superheroine documentary, look no further!

Wonder Women! The Untold Story of American Superheroines is currently raising money for the World Premiere at the South by Southwest Film Festival in Austin, TX this March. The film, originally titled The History of the Universe as Told by Wonder Woman, traces the history of Wonder Woman and “looks at how popular representations of powerful women often reflect society’s anxieties about women’s liberation.” They’ve interviewed a wide variety of people involved with Wonder Woman, comics generally, as well as important “real-life superheroines” like Gloria Steinem and Kathleen Hanna. (A more complete list of major contributors can be found here.) It looks awesome, especially for those of us who are skeptical of Wonder Woman’s exalted status among feminists.

They’ve completed the actual making of the film, so now they’re raising money to “to professionally sound mix and color grade the film and prepare a festival print.” If you’d like to support a woman-made film intended to “introduce audiences to a cast of fictional and real life superheroines fighting for positive role models for girls, both on screen and off, and remind us of our common human need for stories that tell us we can all be heroes,” stop by their Kickstarter page and donate some money! Plus, if you pledge at least $25, you get cool stuff. So not only are you helping to start a discussion about the importance of kick-ass women, you get to smugly wear a T-shirt that lets everyone know you’re a total badass who supports female filmmakers.

I personally look forward to hosting and/or attending a screening once they finish the film. Because who doesn’t love superheroines?

-Joanna

The Girl-Friendly World of Studio Ghibli

Though women and girls in anime can be very problematic, one kind of animated Japanese import doesn’t make me worry about the portrayal of female characters. These films are imaginative, beautifully drawn, highly successful, and usually feature good portrayals of girls and women. This group is, of course, the films made by Studio Ghibli.

So, I’m personally pretty excited about their newest film, which comes to US theaters February 17. Even though Ponyo, the last Studio Ghibli film released in the US, was a little disappointing, I’m still looking forward to The Secret World of Arrietty.

Like the trailer says, the film is based on the novel The Borrowers, a book I remember reading as a child (though I can’t remember how much I liked it). It also features a girl protagonist, like many Studio Ghibli films. Though it doesn’t seem like it will be on the epic scale or have the same adult appeal that movies like Spirited Away and Princess Mononoke have, it looks fun and the kind of movie you’d want to take your daughter to see. It seems to keep with the studio’s tradition of realistic, not stereotypical, female protagonists and quality storytelling.

(Incidentally, if you live in the Boston area, consider checking out the Museum of Fine Arts’ series of Studio Ghibli film screenings happening throughout February! They’re showing many of the beloved Ghibli films (14 in all), as well as the often-forgotten The Cat Returns.)

-Joanna