Why Dredd 3D gets women in comics right

For a popcorn blockbuster, the gender politics of Dredd 3D are extraordinary, writes Laura Sneddon.

Minor spoilers for Dredd 3d follow.

The last few years have seen comic books become the go-to source material for cinema, from Blade and X-Men right through to The Dark Knight Rises and Avengers. Most have featured women characters although those that focus solely on our favourite heroines are better forgotten in comparison to the glut of popular movies based on leading men. Team titles too have been hit and miss with women generally being judged for their looks before their character, although Helen Mirren and Angelina Jolie have both stolen the show in Red and Wanted respectively. Still, it was annoying for many fans to see Black Widow waving her ass in posters and always with that zipper down, despite her greater than expected screen time. Now one film has single-handedly bucked that trend, passing the Bechdel test, and with the best portrayal of women in an action film I have seen in years: Dredd.

Put simply, and this is extraordinary, there is no difference between the portrayal of male and female characters in this film. The women are not sexualised, weaker, shown less, or more emotional, and their wardrobes are genderless, but neither are they simply rendered as personality devoid hard-asses... The women characters are excellent characters who happen to be women.

Judge Dredd. Britain's favourite hero, dispensing the law in a future police state, satirising the very real and ever increasing threat of authoritarianism to our lives. Brutalised in a previous Sylvester Stallone movie that turned him from seriously stern Judge to camp crusader, Dredd is back with a grim and gritty film that harks back to his earliest strips.

Judge Anderson. A long-time friend of Dredd's, a tense friendship at times, Anderson is a female Judge with psychic powers. In the film we see Anderson as a rookie, sent out with Dredd on an evaluation run. Her outfit, her armour, is near identical to Dredd's - the singular difference being her lack of helmet, to better allow her psychic abilities. Anderson is portrayed as being more sympathetic than Dredd, but then again, so is just about every other Judge. In the comics, Anderson has been around since the early days and proved so popular that she headlines her own spin-off series, Anderson: Psi-Division.

Ma-Ma. The villain of the piece and a complete psychopath. This woman runs her criminal gang with an iron fist, torturing and killing anyone who disappoints her or stands in her way. Her domain is the Peach Trees 200 story tower block, housing those who are sworn to her, and others who live in fear. Ma-Ma does not slink her way around or use her womanly wiles; she is fucked up, brutal and efficient.

We open on Mega-City One, a massive city-state holding hundreds of millions of citizens in squalor on the east coast of North America, the result of an explosive population problem and a nuclear war that has devastated the surrounding environment. The low budget ensures that this is a near future, banged up cars and fashion not hugely different from our own; at one point a sole iPhone captures an event amongst the poverty of those around. Dredd (Karl Urban) is commanded by the Chief Judge (Rakie Ayola) to take a failed rookie out on assessment. Due to her exceptionally high psychic abilities, it is hoped that Anderson (Olivia Thirlby) will pass, despite Dredd's disapproval of this second chance.

We're told how few crimes the Judges can actually respond to, despite their numbers, and Anderson picks a triple homicide at Peach Trees: a warning shot from Ma-Ma (Lena Headey) who first skinned her victims, then fed them Slo-Mo - a drug that slows the perception of time to 1% - before tossing them from the 200th floor. The two Judges arrive, apprehending Kay (Wood Harris), one of Ma-Ma's leading gang members as Anderson detects his guilt in the skinning, before the block shuts down, giant blast shields trapping all within. It's unfortunate for the remaining film that The Raid came first as comparisons with Evans' film are inevitable, but the 3D lends Dredd an extra edge: the Slo-Mo drug provides a narrative reason for the 3D to take place, transporting you into the head of the user, frequently before violence occurs in beautifully ugly detail. Bullets shred people into meaty chunks, distort faces before bursting out through teeth and skin, while others fall to their deaths across the viewers vision, exploding upwards and outwards in shining arcs of flesh and blood.

As the Judges drag their prisoner behind them, Kay threatens Anderson with what is likely to happen to her, a pretty woman, when caught. Realising she is psychic he thinks of her in violent sexual situations with him, in a horrific moment almost targeted at those audience members wishing for more sex with their violence, shown their desires in its non-glamorised fucked up reality. Later Anderson interrogates him by stepping into her mind and Kay delights in tormenting her, only to find that she is the one with all the power. He imagines oral pleasure and instead finds his penis ripped from his pathetic body; coming to, he pisses himself. This particular trope happens a few times, with someone assuming they have power over Anderson only to find themselves very wrong, or very dead.

Ma-Ma is a different story. While Anderson is shown to be no more weak than her fellow male Judge, Ma-Ma is shown as being far more intelligent and sadistic than any of the men in her gang. She is utterly terrifying and cold, and it is perfectly easy to believe that the entire block is far more frightened of her than they are of the remote and isolated law. This is no prancing villainess in a bikini or split open dress; Ma-Ma is a blood soaked killer who always has a long term plan. There is even a scene with her in the bath which is completely non-sexualised, a level of welcome restraint that seems incredible. When Anderson is brought before her there is no flicker of emotion either way, she orders no torture not out of female solitude but because she can still see a way of coming out of this intact.

Original Dredd creator John Wagner was on hand as consultant throughout filming for writer and producer by Alex Garland, and nixed a scene where Anderson and Dredd kiss - Judge Dredd doesn't do romance, and neither does Anderson. Anderson does however show more empathy than her colleague at certain times due to her ability to see inside the minds of the perpetrators. She sees one of the gang members as having been tortured and kept there against his will and bases her judgement of him with that in mind. Earlier however, when hesitating over killing a man who begs for his life, she shoots. Sitting behind me at the cinema was long-time Judge Dredd artist Cam Kennedy, who nodded, "that's my girl!"

The satirical nature of Dredd as a character, that extrapolation of a future grounded in the frightening conservative politics of today, has meant that while Dredd has lived a long and prosperous life in the UK, he has never been welcomed in the US. The film needs to make budget to be granted a sequel, and it will be a crying shame if Anderson doesn't get a second outing alongside Joe Dredd.

Dredd is low budget but very ambitious and ultra-violent fare, an action thriller and, most unusually for a comic film, an 18/R certificate. There will be those who say this isn't the Dredd film we've been waiting for, that Urban isn't growly enough, or that his helmet isn't exactly as it should be. To me though, this is exactly the film that early Dredd strips deserve: the leaner, younger Dredd with the heavy violence and pressure cooker environment that the police state dictates, and the complete lack of sexism and misogyny that makes Dredd always such a great read. The cast, in their entirety, have nailed the restraint of characters living in this world.

And on top of all that, it's an action film where women are equal.

This piece was originally posted at Comic Book Grrrl.

Judge Dredd (Karl Urban) kicks down a door while Judge Anderson (Olivia Thirlby) covers him. Photograph: Lionsgate Pictures

Laura Sneddon is a freelance journalist. Find more of her work at comicbookgrrrl.com

LORRAINE MALLINDER
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A dictator in the family: why Ebrima Jammeh wants retribution in Gambia

“I want to see Yahya Jammeh jailed and prosecuted in this country. Justice will finally come.”

On 21 January Yahya Jammeh left Gambia. Within minutes of the erstwhile dictator’s departure on a private jet, relieved crowds began to gather at Westfield Junction, a popular meeting point in Serrekunda, the largest town in the country.

For 22 years, Jammeh had cultivated a sorcerer-like persona, claiming he could cure HIV with herbs, ordering a nationwide witch hunt and magicking away countless dissenters to fates unknown.

After losing elections in December, he brought the country to the brink of war, staring down the West African troops waiting at the Senegalese border to remove him. Unable to conjure a way out, he eventually agreed to be exiled to Equatorial Guinea.

Leaning against a car at Westfield, Ebrima Jammeh (pictured above) watched the celebrations with a bitter-sweet expression. Shouting over blaring car horns, he said that he wanted justice for his father, murdered by the regime in 2005. His father, it turned out, was Haruna Jammeh, a first cousin of Yahya. The story of how Haruna and his sister, Masie Jammeh, were “disappeared” by security forces is well known here – a striking example of the former ruler’s ruthlessness.

Days after Yahya Jammeh’s departure, I met Haruna’s widow, Fatimah, with Ebrima and his sister Isatou. They recalled the early Nineties, when “Cousin Yahya” would drop by for green tea in his army officer’s uniform and brag about becoming the next leader of Gambia. “He was very arrogant,” Fatimah said.

Haruna and Yahya grew up on the family farm in Kanilai, on Gambia’s southern border with Senegal. They would play together in the fields. Haruna, six years older, would walk hand in hand with Yahya to school. They were more than cousins, Ebrima said. People called them “cousin-brothers”.

Once they were adults, Haruna remained protective of his cousin. He was working as a restaurant manager, and was a rising star in the Novotel group. Often, he helped out the then-impecunious Yahya with money or food. Few expected the hothead lieutenant to become the next president.

But in 1994 Yahya seized power in a coup. “I heard his voice on the radio and I was surprised,” Fatimah told me. “I phoned my mum and said: ‘Look, he did it.’” By 2000 Yahya had coaxed Haruna into ditching his hotel job and returning to manage the farm. The president had big plans for the farm, which grew into a huge enterprise that controlled many of the nation’s bakeries and butchers – thriving allegedly through land-grabs and subsidies.

Fatimah and the children stayed behind in Serrekunda, but would often visit. Ebrima had happy memories of meals with the extended family. Yahya was by now a distant figure, surrounded by bodyguards on the rare occasions when he visited. Ebrima remembered his uncle telling him to “work hard at school”.

In 2004, Haruna accused some soldiers of stealing fuel and food, and started to speak out against the regime’s frequent sackings and arrests. When he was removed from the farm, Fatimah begged him to come home. But he refused. “He was a strong character, a man of his word, a man of truth. He didn’t take nonsense from anyone,” Ebrima said. Haruna did not expect his younger “cousin-brother” would harm him.

In 2005 Ebrima, by then 21, spoke to his father for the last time after he was arrested in the middle of the night. “Dad said: ‘I don’t know if I’m coming back,’” he told me. “I was scared. I was devastated. I didn’t think I was going to see him again. I knew the kind of person Yahya was and the kind of rages he had.”

Shortly afterwards, Haruna’s sister Masie also disappeared. “My aunt was bold enough to approach the president, but she went missing, too,” Isatou said. “We stopped going to the village. We decided to be quiet because we were so scared they would come after us.”

In the years that followed, Fatimah and the children kept a low profile in the backstreets of Serrekunda. Questions about their surname were common but they denied all links to the president. For a long time, they had no idea whether Haruna and Masie were alive.

In 2014 Ebrima learned the truth from an interview on a Senegalese radio station with Bai Lowe, a former driver with the “Jungulers” (an elite presidential hit squad). Lowe said he had witnessed the strangling of Haruna and Masie Jammeh in July 2005. Their deaths were recorded in a 2015 Human Rights Watch report.

The interview was conducted by Fatu Camara, a former press secretary to Yahya Jammeh, who fled to the US in 2013 after being charged with “tarnishing the image of the president”. She said Masie had threatened to see a marabout, a spiritual leader with reputed supernatural powers, if Yahya did not reveal Haruna’s whereabouts. Having already set the Jungulers on Haruna, Yahya then targeted Masie, too.

On 26 January Gambia’s new president, Adama Barrow, returned from exile in Senegal. He leads an unwieldy, eight-party coalition with differing views on how Jammeh should be held to account. Barrow, who claims to have inherited a “virtually bankrupt” state, has promised to launch a truth and reconciliation process to investigate human rights abuses during the Jammeh regime. In interviews, he has chosen his words carefully, avoiding any mention of prosecution.

But, like many of those who have suffered, Ebrima wants retribution. “I want to see Yahya Jammeh jailed and prosecuted in this country. Justice will finally come.”

This article first appeared in the 16 February 2017 issue of the New Statesman, The New Times