The top ten feminists on film

From Maya in Zero Dark Thirty to Thelma and Louise to Amelie, there's reason to be hopeful about the way women are portrayed on screen.

 

Film can seem like a depressing place for feminists when everywhere you turn, there’s another rehashed fairytale, Legally Blonde remake, or catastrophic failing of the Bechdel Test. To bring a little positivity to the fore, we decided to put together a list of our favourite Vagenda-endorsed female characters. It may not entirely redress the balance, but it certainly shows that the depiction of women is slowly becoming a lot less uniform in Hollywood and beyond.

Katherine Watson, Mona Lisa Smile 

A perhaps controversially mawkish first choice in this 2003 film. Julia Roberts plays bohemian Art Lecturer Katherine Watson, who, on being appointed to Wellesley College, vows to transform the conservative college into a progressive feminist utopia, only to be disappointed when she discovers that the institution is little more than a finishing school for marriage. Somewhat unconventionally for the 1950s, she tries desperately to convince the girls that they could be the leaders of tomorrow (and not their wives), with mixed results.

Best line: "You stand in class and tell us to look beyond the image, but you don’t. To you a housewife is someone who sold her soul for a center hall colonial. She has not depth, no intellect, no interests. You’re the one who said I could do anything I wanted. This is what I want."

Thelma & Louise 

You don’t need us to tell you that this 1991 film starring Susan Sarandon and Geena Davis is a feminist classic. Having to decided to hit the road and escape the deadbeat men in their lives, Thelma and Louise’s trip turns into a flight when Louise shoots a rapist who threatens Thelma.  Despite the fact that their quest to reach the Mexican border is hampered by the police on their tail, their crime spree turns out to be unexpectedly liberating, but best of all is the hilarious but touching way the friendship between the two fugitives is celebrated in this witty twist on a traditional road movie.

Best line: "You shoot off a guy’s head with his pants down, believe me, Texas ain’t the place you want to get caught."

Doralee Rhodes, Nine to Five 

In this film that spawned the wedding dancefloor classic of the same name, Dolly Parton plays Doralee Rhodes, one of Frank Hart’s three assistants who, on tiring of his sleazy sexist behaviour, trap him in his house and gain control of the office. Easily able fake her boss’ signature, Rhodes and her two friends use his "absence" as an opportunity to introduce flexible working hours and maximise productivity at the company.

Best Line: "Look, I’ve got a gun out there in my purse. Up until now I’ve been forgivin’ and forgettin’ because of the way I was brought up, but I’ll tell you one thing. If you ever say another word about me or make another indecent proposal, I’m gonna get that gun of mine, and I’m gonna change you from a rooster to a hen with one shot! And don’t think I can’t do it."

Alice, Alice Doesn’t Live Here Anymore 

When her husband dies in an accident, thirty five year old Alice Hyatt (played by Ellen Burstyn) takes her young son on a road trip to pursue her dream of being a singer. Finally finding work as a lounge singer in a bar in Phoenix, she meets Ben but, on sleeping with him discovers that he is not only married but also abusive to his wife. Finally accepting a job as a waitress from necessity, she meets David. Wounded from her last relationship and fiercely independent, Alice tries to discover whether relying on a man for happiness really is enough for her. Is Alice a liberated woman? Well, not entirely, but her evolution as a character from downtrodden housewife to independent woman is at times as upbeat as it is harrowing.

Best line: "Turn around, why? Look at my face, I don’t sing with my –"

Mildred Pierce 

After her husband leaves her, Mildred (Joan Crawford) sets out to prove that she can successfully survive on her own, opening a small restaurant despite the protestations of the spoilt, sociopathic daughter that she obsessively tried to please.When sleazy property owner Monte becomes involved in the business, however, things start to go quickly downhill. The 2011 min-series remake starring Kate Winslet is also excellent, but nothing beats this 1945 film noir with a central heroine as tough, and coolly determined as any on the screen.

Best Line: Get out before I throw all your things out into the street and you with them. Get out before I kill you.

Princess Merida, Brave 

The headstrong Princess Merida (Kelly Macdonald) almost makes up for all the Disney Princesses whose lives were dictated and dependent on their husbands by pursuing archery instead of love in this encouragingly feminist children’s film. She makes excellent arguments for concentrating on marriage only after one’s career, turns expectations of women in her own society on their head, and makes no apologies for her rebellious behaviour. Neither is she punished by the plotline or shown to be naive; instead, the story follows an effort to repair a bond between herself and her mother, which was damaged because of her mother’s insistence over traditional female roles.

Best Line: "I am Merida, and I will be shooting for my own hand."

Beatrix Kiddo or "The Bride", Kill Bill 

This two-part action movie, which follows Uma Thurman’s depiction of a woman’s revenge mission for her murderous ex and a quest to find her daughter, has left feminist communities divided. However, there’s no denying that The Bride’s character is satisfyingly challenging. Her character storyline has a proper narrative arc, emotions that don’t automatically render her ‘weak’, and she ultimately triumphs over a man previously respected as the best in his field. Beatrix, who used to do Bill’s dirty work, was almost slaughtered by him for her choice to bow out of the game and pursue motherhood - and through proving her superiority over Bill in the field that they once worked together in, her triumph is to live out that choice.

Best Line: "Before that strip turned blue...I was your woman. I was a killer who killed for you... But once that strip turned blue, I could no longer do these things anymore... I chose her."

Jane, It’s Complicated 

Jane has been unceremoniously dumped in the past by her cheating husband who remarries a much younger woman. Not long afterwards, however, her ex Jake begins to regret his decision - and in a 180-degree turn of events, Jane becomes "the other woman" to his new marriage. Meryl Streep portrays Jane as a capable but confused person coming to terms with a difficult divorce, who eventually realises that Jake is no good but has the maturity to end the relationship amicably and move on with her life. She shows her ex up as the smaller person, and does an excellent job of being that one thing Hollywood still balks at: an unashamedly sexually active woman over the age of 25.

Best Line: "I like a lot of semen, always have."

Maya, Zero Dark Thirty 

In what sometimes steers uncomfortably close to being a torture apologist film, Jessica Chastain’s Maya - the main CIA operative behind the tracking down and execution of Osama bin Laden - is a strong lead who brings humanity into a story that could have become cold-blooded and propagandist. Her intelligence, tenaciousness and leadership skills are shown to be responsible for finding her target. Meanwhile, her response to this victory - a lone moment of silent tears in a military aircraft - renders it decidedly bittersweet. Maya is an expert and a justified workaholic who stands out for her ability to see killing for what it is, rather than through the lens of patriotic rhetoric.

Best Line: "I’m going to smoke everyone involved in this op, and then I’m going to kill bin Laden."

Amelie

In many ways, Amelie is the "manic pixie dream girl" who actually gets the leading role. Instead of existing to help a young man along his way to self-discovery, she enriches her life with quirky acts of kindness which eventually lead to the fairytale-esque finding of her perfect other half. It might end up with the beginning of a romance, but Amelie is no love story; instead, it’s an uplifting story that portrays its main character as multifaceted, often ingenious, and consistently underestimated by others.

Best Line: "I am nobody’s little weasel."

 

Princess Merida pursues archery instead of love in "Brave".

Rhiannon Lucy Cosslett and Holly Baxter are co-founders and editors of online magazine, The Vagenda.

HELEN SLOAN / THE FALL 3 LTD
Show Hide image

The Fall is back - and once again making me weary

Five more episodes to go, after which its “feminist” writer (his word, not mine), Allan Cubitt, should pull the plug on it at last. Plus: Damned.

It is with much weariness that I return to The Fall (Thursdays, 9pm), the creepy drama that still doesn’t know whether it wants to be a horror-fest or a love story. I’ve written in the past about what I regard as its basic misogyny – to sum up, it seems to me to make a fetish of the violence committed against women, a preoccupation it pathetically tries to disguise by dint of its main character being a female detective – and I don’t propose to return to that theme now. However, in its early days, it was at least moderately gripping. Now, though, it appears to be recovering from some kind of nervous breakdown. If in series two the plot was wobbling all over the place, series three has misplaced the idea of drama altogether. Nothing is happening. At all.

To recap: at the end of the last series, Paul Spector, aka the Belfast Strangler (Jamie Dornan), had been shot while in police custody, somewhat improbably by a man who blames him for the demise of his marriage (oh, that Spector were only responsible for breaking up a few relationships). On the plus side for his supposed nemesis, DSI Stella Gibson (Gillian Anderson), before he fell he led them to Rose Stagg, the ex-girlfriend he’d locked in the boot of a car some days previously, and she is going to live. On the minus side, Spector’s injuries are so bad, it’s touch and go whether he’ll survive, and so Gibson may never see him brought to justice. Of course, the word “justice” is something of a red herring here.

The real reason she wants Spector to live is more dubious. As she stared at his body in the ICU, all tubes and monitors, her expression was so obviously sexual – her mouth opened, and stayed that way, as her eyes ran over every part of his body – that I half expected her to reach out and stroke him. Just in time for this nocturnal visit, she’d slipped into another of her slinky silk blouses that look like poured cream. (Moments earlier – think Jackie Kennedy in 1963 – she’d still been covered in her love object’s blood.)

The entire episode took place at the hospital, police procedural having morphed suddenly into Bodies or Cardiac Arrest. Except, this was so much more boring and cliché-bound than those excellent series – and so badly in need of their verisimilitude. When I watch The Fall, I’m all questions. Why doesn’t Stella ever tie her hair back? And why does she always wear high heels, even when trying to apprehend criminals? For how much longer will the presumably cash-strapped Police Service of Northern Ireland allow her to live in a posh hotel? Above all, I find myself thinking: why has this series been so acclaimed? First it was nasty, and then it was only bad. Five more episodes to go, after which its “feminist” writer (his word, not mine), Allan Cubitt, should join Gibson in the ICU, where together they can ceremonially pull the plug on it at last.

Can Jo Brand do for social workers in her new comedy, Damned, what she did a few years ago for geriatric nurses in the brilliant Getting On? I expect she probably can, even though this Channel 4 series (Tuesdays, 10pm), co-written with Morwenna Banks and Will Smith, does have an awfully inky heart. Hungry children, drug-addict parents, a man who can go nowhere without his oxygen tank: all three were present and correct when Rose (Brand) went to visit a client who turned out to be a woman who, long ago, had nicked her (Rose’s) boyfriend. Ha ha? Boohoo, more like.

Damned is basically The Office with added family dysfunction. Al (Alan Davies) is a hen-pecked wimp, Nitin (Himesh Patel) is a snitch, and Nat (Isy Suttie) is the stupidest and most annoying temp in the Western world. This lot have two bosses: Martin (Kevin Eldon), a kindly widower, and Denise (Georgie Glen), the cost-cutting line manager from hell. And Rose has a plonker of an ex-husband, Lee (Nick Hancock). “I’ve been invited to the Cotswolds for the weekend,” he told her, trying to wriggle out of looking after the children. “Is that why you look like a knob?” she replied.

Jerky camerawork, naturalistic acting, a certain daring when it comes to jokes about, say, race: these things are pretty familiar by now, but I like it all the same.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 29 September 2016 issue of the New Statesman, May’s new Tories