Prompted by male tears, I saw Mad Max like any dutiful gender traitor. Overall it’s a blast, and George Miller remains one of the best action directors in the game. (The chase scenes in Mad Max 2, from 1981, feel like Christopher Nolan before his time.) I didn’t love it quite as much as I expected to – the sets, setpieces and effects are more spectacular than previous films’, but correspondingly less effortless. That said, there’s a lot to admire, from Tom Holkenborg’s score to Miller’s frame rate manipulation. It’s when it came to the feminist angle I wasn’t sure what to think.
Because full-time misogynists demanded a boycott, Fury Road prompted unexpected discussions about women in film. It’s since won praise for all kinds of reasons, many of which seem compelling. As Donna Dickens notes, this is a Bechdel-acing film with a focus on female characters – some of whom, like one-armed Imperator Furiosa and the grey-haired, gun-toting Vulvalini, are excellent – which deconstructs the lone male hero of action cinema. (In Max’s case, writes Dickens, ‘[this] status just about gets him killed’.) Unlike The Hunger Games or Divergent, Sasha James argues, it does this as ‘an action film that is not targeted specifically toward women – if anything, it’s marketed to men’ – and shows female characters, including rape and abuse victims, using the fact of their gender with agency. Writes James:
Untrained in the art of war, the Wives use their womanhood as tools [sic] for their own survival, weaponizing the stereotypes that would be conventionally used against them in a standard action film. For example, in [a] moment of bravery, Splendid transforms her body – the physical vessel for Immortan Joe’s son – into a shield for Max, Furiosa, and the Wives, recognizing her traditional role as a mother and actively using this to her benefit. . . . As an audience well versed in the often-misogynistic tropes inherent in action films, we expect Splendid to be a ‘damsel in distress’. Miller, however, inverses our expectation, transforming her into an empowered survivor.
The moment succeeds because it taps into something real, capturing the complexity of how people at the bottom of power structures negotiate them – something Hollywood’s tryhard attempts at feminism often miss.
And yet – and yet. [Read more…]