WOMEN EMPOWERMENT IN FEATURE FILMS

WOMEN EMPOWERMENT IN FEATURE FILMS
Patricia Gaile Cotaoco
Media Criticism class

Whether it is a classic or a contemporary movie, women play a major role in society. She may be a heroine or a villain, a religious or otherwise. Whatever her character is, she can definitely create a stir or cause changes. These changes do not only affect her, but the society surrounding her as well.

In “Gendered Television: Femininity” (1987), Tania Modleski said that a woman’s role “is decentered, finding her identity only in the relationships with children and husband, constantly reconstituting herself to accommodate the changing demands of these relationships.” But this is not entirely true. In the most movies—particularly The Sound of Music (1965), Practical Magic (1998) and Chocolat (2000)—one will see that women are capable of having a strong personality, knowing their identities, and in their own little way, can even make wonders.


The Films and Their Genres
The Sound of Music belongs to the musical genre. It is based on the Broadway musical of the same title. Like other musicals films, there is a lot of singing and dancing. These “song-and-dance” episodes clearly support the storyline while the lyrics perfectly support the dialogues. An example of this is the scene where Maria (Julie Andrews) is singing “I Have Confidence” while on her way to the Von Trapp Family mansion. The lyrics of the song seems like she is just naturally talking to herself aloud (What will this day be like? I wonder/What will my future be? I wonder//). Even the melody goes with her mood—scared and uncertain at first, and then happy and confident as the song progresses.

Aside from being a musical, The Sound of Music is also a romance film. This is visualized in the love story of Maria and Captain Georg Von Trapp (Christopher Plummer). Also, the movie has a hint of history as the setting is during that of the Nazi invasion of Austria.

Next is Practical Magic, a fantasy film. Fantasy films usually deal with supernatural entities that have magical powers. In the movie, the main characters—Sally (Sandra Bullock) and Gillian (Nicole Kidman)—are modern-day witches. Although the viewer will not see them wearing witch’s hats and black cloaks until the end of the movie, the use of spells and potions is frequent all throughout.

Another focus of the film is the act of falling in love. Thus, it also belongs to the romance genre. Romance movies focus mainly on the character’s love story or journey in search for love. In the movie, falling in love has become a curse for the Owens family. And so, Sally is introduced as a cynical kid who does not want to fall in love, while her sister is giddy with the thought of being in love. Although they eventually tread on different paths, it is clear that both of them are in search for love.

Lastly, there is Chocolat, a romantic-drama film. “Drama films are presentations of stories with life situations that portray realistic characters in conflict with either themselves, others, or forces of nature (http://www.filmsite.org/dramafilms.html).” In Chocolat, the conflict between a conservative, somehow patriarchal society (headed by Comte de Reynaud, who is played by Alfred Molina) and a liberal newcomer (Vianne, who is played by Juliette Binoche) is presented. It also shows the struggle between maintaining and conforming to a traditional society and accepting changes and adapting to a new lifestyle. The movie also has sub-plots, which involves other characters who have struggles of their own. An example would be Josephine (Lena Olin). Her defiant and strong character makes her a talk of the town: “If you don’t go to confession, if you don’t…dig your flowerbeds, or if you don’t pretend…that you want nothing more in your life than to serve your husband three meals a day, and give him children, and vacuum under his ass, then…then you’re crazy.”

As the story progresses, the viewer will also witness the subtle growth of love between Vianne and Roux (Johnny Depp). This romance theme, however, starts only to become visible in the middle of the story when the “river rats” are introduced.


Theories
Feminism (Chocolat, Practical Magic, and The Sound of Music)
According to Laura Mulvey, there is a “patriarchal society” dominant in many narrative films. Male characters look down on women and treat them as objects. They consider them as inferior and, therefore, should be subservient. “The masculine subject emerges through two primary processes working in tandem: narcissistic identification with male characters and objectification of female characters. These processes transform ‘the look’ into a sexual ‘gaze’ (Mulvey).” This is because it is what the status quo has taught men—that women need to be taken care of and so, they can do whatever they wish with them.

However, D. N. Rodowick refutes this by saying “the structure of vision which is the foundation of pleasure in looking both contains active and passive components. This structure is maintained not only in the act of the look, but also in the return of the look.” In here, it is implied that the privileged idea in feminist films is that women are equal to men and they do not need men to take care of them. Women now are more active and know how to “return the look.” This idea is not only applicable to movie characters but to female viewers as well. As movies are a reflection of society, Ellen Seiter notes that “women openly and enthusiastically admitted their delight in following stories of female transgressions which destroy the ideological nucleus of the text: the priority and sacredness of the family.” Female characters and movie viewers now have a choice whether to follow the norm and prioritize family life or be a deviant by doing something that they think is better for them.

Postmodernism (Practical Magic)
In contrast to the modernist view of tradition, rationality, and function, postmodern works exhibit intertextuality, the use of pastiche, and fragmented ideas. It promotes a network of ideas that are not really connected with each other. It also exhibits a play on numerous signs included in the film.

Borrowing Jim Collins’ terms, there is a “bombardment of signs” and one will see an “increasing surplus of texts in postmodern works.” This means that a person who watches a postmodern film may probably experience confusion in determining the specific function and meaning of the movie. As David Boje said in his web article Stories of the Storytelling Organization, “postmodern discourses de-center the human agent and defend living and social bodies against the grand narrative, mechanical harmony, and functional order.” In effect, a postmodern film only has what seems to be a grand narrative or a fixed story. But if the viewer will look at it closely, he will realize that the film he is watching is only a montage consisting of signs taken from other artistic or literary works. Although the viewer can argue that the movie still makes sense, it is only because of the cause-and-effect flow of the plot. In reality, there are several meanings that the viewer can make up of the film because of the numerous references used by the artist.


Narrative Theory (Chocolat)
Roy Stafford in his web article Narrative and Genre: Key Concepts in Film and Media Studies, defines film narrative as a “chain of events in cause-effect relationship, occurring in time and space.” A traditional film narrative is very much like a story being told by one person to another. It begins with a state of equilibrium or balance, which is eventually disturbed. As the film progresses, the effects of this disturbance are revealed until a resolution is made. In the end, a new state of equilibrium is achieved. According to Stafford, “narratives are constructed around conflict.” And this makes narrative films much like a reflection of reality.

However, it should be noted that it is only in real life that “things can happen totally in random” (Kozloff, 1995). The story in a film narrative has to have a progression made by cause and effect relationships. It has a beginning-middle-end system. This is so that a viewer can clearly understand the film he is watching. It is also through this “formula” that a film becomes so predictable.


Genre Criticism (The Sound of Music)
In “The Genre Approach: Analysis of Formula Films” (1989), John Cawelti defines genres as “structures of narrative conventions which carry out a variety of cultural functions in a unified way.” “[These] genre films surely depend far more on repetition for their effects than on novelty.” Joining the bandwagon has never been difficult for filmmakers. They just change the names of the actors and characters, find a new location, and set another time, but the flow of the story is essentially the same. As Debbie Reynolds said in the movie Singin’ in the Rain, “When you’ve seen one, you’ve seen ‘em all.”

Watching genre films leaves the viewer in a state of being expectant because he can easily predict what will happen next or how the story will end. He will easily notice the similarities of one movie to another. Nevertheless, people still watch formula films because they are clear representations of culture. They say things about a certain society, which the viewer does not tire of knowing about because he gets values from them.
Robert Warshaw (1989) said, “One goes to any individual example of the type with very definite expectations, and originality is to be welcome only in the degree that it intensifies the expected experience without fundamentally altering it.” In here, Warshaw explains the kind of attitude a viewer possesses when it comes to watching films—ironic. The viewer is hopeful of being able to watch something new, yet expects that he would watch a movie similar to all the others he has previously seen.


Semiotics (Chocolat, Practical Magic, and The Sound of Music)
Semiotics or the study of signs, their meanings, and how they relate to other things is a common technique used in film criticism. According to Stuart Hall, signs or texts are polysemic. “They contain multiple meanings that need to be actualized by audiences, involving the culturally competent application of codes governing the text.”

After finding out these signs and their meanings, the viewer is then led to further levels of signification: the connotation and myth level and the ideology level. This is where he forms associations or refers the signs to other types of narratives or “myth,” as Roland Barthes said. In the end, the viewer will be able to recognize the privileged ideology or principle dominant in the film.


Film Analysis
The Sound of Music
In the beginning of the movie, the viewer will see that one of the rules at the abbey and at the mansion is that singing is not allowed. And so, the very act of singing is a signifier for freedom. It means that the character is giving in to his/her desires. One scene that illustrates this is that of the nuns telling Mother Abbess (Peggy Wood) that Maria has been singing in the abbey. Another is when Maria asks Mother Abbess for an apology because she has been singing. The same is true for the Von Trapp family when the children tell Maria, “Father doesn’t like us to sing.” The Von Trapp family mansion is also used as a symbolism for prison—a ship, in the case of Captain Von Trapp. This is proven true when Frau Schmidt tells Maria, “He runs this house as if he were he is one of his ships. Whistles. Orders. No more music, no more laughing.” Bringing the music back in the house is like making the house a home, and giving children their freedom.

Another sign is Max’s (Richard Haydn) description of the Baroness (Eleanor Parker) as “Baroness Machiavelli.” This is in reference to Niccolo Machiavelli and his famous treatise, The Prince. The treatise says “the end justifies the means” and so, this is just what the Baroness plans to do in order to ruin Maria’s and Captain Von Trapp’s relationship.

In the movie, the abbey is used as a signifier for protection. One of the scenes that demonstrates this is that of Maria running back to the abbey when she discovers that she has feelings for the Captain. She uses the abbey to protect herself from the feelings she has for him. Another example is when the Von Trapp family hides in the abbey when the Nazi soldiers are looking for them.

An outstanding example of binary opposition in the movie is the Baroness and Maria. The former is rich, not fond of children (“Darling, haven’t you ever heard of a delightful little thing called boarding school?”), manipulative and reserved. She does not openly talk about her opinion. Maria is exactly her opposite—the children love her and she is outgoing. She is also opinionated and assertive, as seen in her argument scene with Captain Von Trapp.

With regard to the film belonging to the musical genre, Stanley Solomon’s theory should be taken into account. In his book Beyond Formula (1976), he said musical films have “certain strengths that permit them to move back and forth between a realistic presentation and a metaphorical musical presentation. Within a metaphorical presentation, a song or dance becomes a symbolic revelation of an entire plot situation, or a disclosure of a character’s inner feelings and deepest intentions.” For The Sound of Music, the song and dance performances have been the medium, which the characters use to express further what they have to say. This is particularly shown in the songs: “I Have Confidence,” “Edelweiss,” which the Captain sings for his fellow Austrians, and “So Long, Farewell,” which the children sing before they went to bed and before they are about to escape the soldiers.

Unlike other musical films wherein the performances are actually part of the film, the musical part in The Sound of Music is a way to reveal other meanings. As Solomon said, “the outstanding characteristic of the musical is its capacity to communicate different levels of meaning simultaneously.” Through the in-between performances, the viewer does not only learn of what the character feels, but he also learns more who the character really is.
Some parts in the movie can also be seen from a feminist point of view. An example is the scene wherein Liesl (Charmian Carr) and Rolf (Daniel Truhitt) are singing “Sixteen Going on Seventeen.” The lyrics of the song (“You need someone older and wiser/Telling you what to do/I am seventeen going on eighteen/I’ll take care of you//”) explicitly says that Liesl needs Rolf to tell her what to do. It implies that she cannot think and act for herself, and therefore, needs a man to guide her. However, it should also be noted that there are certain parts in the film wherein the “patriarchy grants women a position of some power” (Fiske, 1987). This is shown in the scene wherein Max asks help from Maria to convince the Captain to let the children sing in the festival. From there, it can be said that the female character is trusted with enough authority that she can persuade a man to change his decisions.


Practical Magic
There is also a signifier for freedom and protection in Practical Magic—the use of spells and magic. This is visualized in several scenes: it is used by Maria (Caprice Benedetti) to escape death, Sally and Gillian use it to escape Jimmy’s (Goran Visnjic) abuse, and Sally uses it again to free Gillian from Jimmy’s spirit. Maria and Sally also use magic to free and prevent themselves from being hurt. Ironically, it is magic that has also brought them heartache.

Another sign is Jimmy Angelov’s surname. Angelov is a Bulgarian name that means “son of angel.” This is what Gillian probably thought of him at first: that he can be her angel and save her from the curse. However, he proves to be otherwise. His character eventually turns from a bad person to an evil spirit. Jimmy’s desire for Gillian is also manifested through a sign—roses. Ironic as it may seem, roses are usually equated to love. But in Jimmy’s case, the rose is a sign for his obsession to Gillian.

Other signifiers include frogs and moon. Frogs are used as a warning for the sisters that Jimmy’s spirit is present. This means danger, and possibly death, which is also the symbolism of frogs in witchcraft. Meanwhile, a full moon is shown while Sally is writing a letter to Gillian. Right after she puts her letter by the fence, hoping that Gillian will be able to receive it, the phone rings and Sally immediately feels that Gillian is in danger. This is because full moon in witchcraft is a time wherein the psychic ability increases. Similarly, when Gillian sees a reddish moon (“Blood on the moon” as what she calls it), she becomes scared and anxious. In witchcraft, and as implied in the movie, blood on the moon is a sign of death.

Practical Magic can also be seen as a postmodern film because of references to other works. As Claude Levi-Strauss said, “no particular myth could be comprehended unless it is connected to intricate webs of other myths, symbols, and cultural codes and practices.” Except for their appearances (which do not really provide a notion that they are witches), there are several references to witches’ rituals, such as dancing naked during the summer solstice and the use of animals in casting spells. There is also a reference to the Salem Witch Trials at the beginning of the film wherein Maria is about to be hanged. Aside from being thrown stones at (which the sisters also experienced when they were younger), hanging is another traditional way of punishing witches. Another reference is that of the mention of American author Louis L’Amour whose works are usually about cowboys. And this is what Jimmy refers himself as. The Wizard of Oz is also used as a reference. At the end of the movie, one will see the Owens family is all dressed in black robes and is wearing red-and-white stockings. It is the same kind of stockings the Wicked Witch of the East wears in The Wizard of Oz. Nevertheless, there are also fragmented ideas included in the film which further proves that it is a postmodern work. Some of these fragmented ideas, which does not really connect to any myth or cultural practices, is the midnight margarita drinking and the frog throwing out Jimmy’s ring.

“Though women play principal parts in the narrative sections of the film, their depiction as totally dependent on men for approval and love ultimately transforms them into mere images of beauty without the capacity for self-determination” (Bywater and Sobckack, 1989). This may be true. As one will see in the movie, both sisters are desperately looking for love despite their strong will and independence. They even resort to magic just to find the right man. However, it should also be noted that they have demonstrated their resilience, independence, and strength all throughout the movie. Sally has shown that a woman can move on and still be happy despite being a widow. As for Gillian, she has shown that women should not let men abuse them. Her case is also an example of being able to “return the look” and create a feminine space. With her carefree attitude and lifestyle, it is implied that she has the “ability to facilitate and control relationships.”


Chocolat
The first apparent signifiers in Chocolat are the red coats Vianne and Anouk (Victoire Thivisol) are wearing amidst a grayish blue background. The background gives an impression of dullness, while the red coats immediately tell the viewer that these newcomers will create a stir in the peaceful village. Aside from the red coats, Vianne’s red shoes are also a sign of liberalism. In one scene, Anouk asks her, “Why can’t you wear black shoes like the other mothers?” This line implies that Vianne is different and defiant.

The signifier of freedom is in the form of chocolate. Very few people are brave enough to try Vianne’s chocolates, and so these are the only people who are able to give in to their desires. In the movie, chocolate is made to look as a symbol of evil and sin. The Comte even regards them and Vianne as “enemies.” This is shown in the scene wherein the villagers who have eaten her chocolates are confessing for doing such act.
Another is the village statue. In the movie, the statue is a signifier for tradition. It serves as a reminder to the villagers that they should always keep their traditions. In one scene, Vianne is so mad at the Comte that she starts kicking the statue. This implies that Vianne is mad and frustrated at the traditions that the village adheres to. At the end of the movie, the viewer will see the statue with a red balloon. This scene means that the village has finally learned how to accept changes and take risks.

Chocolat follows the traditional narrative style, which makes it predictable. It starts off with a state of equilibrium, showing the peaceful village with people going to Mass. Then, a disturbance occurs with the arrival of Vianne, Anouk, and their chocolates. From then on, the lives of the villagers have never been the same. They have become more passionate, risky, and happy. There are other conflicts presented such as the village versus the river rats, Josephine versus her husband, and Caroline (Carrie Ann Moss) versus her Armande (Judi Dench). In the end, a resolution is achieved as the Comte learns to accept that their village needs to finally embrace new traditions. The film used a character-narrator: Anouk. However, it was not until the end that the viewer would realize Anouk is also the narrator. The story developed progressively, although flashback techniques were used in the middle part of the movie. This allowed the viewer to take a peek into the history of Vianne and Anouk and better understand their lifestyle.

The movie is indeed feminist in nature, and this theme is particularly visualized in its female characters. Vianne is a single mother who does not go to church—a total deviant in the eyes of the villagers, especially the Comte. Her daughter is always outside the chocolaterie playing with the boys. When inside the shop, she can be seen playing pirate games. While Josephine and Armande are strong-willed female characters who do not really care what the townspeople say about them. Josephine is also another character who finally learns how to create her feminine space. She does this by leaving her abusive husband, Serge (Peter Stormare). In one of their dialogues, Serge tells him that she should go back to him because they “are still married in the eyes of God.” Josephine simply answers him with: “Then he must be blind.”


Comparison
The most obvious similarity among the films is the romance element in their stories. However, this does not weaken the fact that these movies generally belong to distinct genres. Another similarity is that women are major characters. The female characters play a different role for each film, and each character functions differently. However, they have their own identities and they do not allow themselves to be undermined by other people. The movies are also family-oriented.

As mentioned, all films employ certain signs as signifiers for freedom. Varying only in form, but these signifiers functions only as a means to be free and being able to unleash hidden desires.

Religion also plays a role in the three movies. This is apparent in The Sound of Music because Maria is a former nun. In Chocolat, it is one of the opposing poles as it forms a tag team with tradition. This is in conflict with the new and carefree lifestyle that Vianne wants to impart to the other villagers. While religion is evidently used in The Sound of Music and Chocolat, its function is only implied in Practical Magic. In the movie, religion is posed as a counter to witchcraft. When Jimmy’s demonic spirit possesses Gillian, Sally, her aunts and friends try to exorcise her and drive the spirit away. This is in contrast to the traditional Catholic way wherein a priest administers exorcism through prayer. But in Practical Magic, brooms and chants are used instead.


Summary
Using the Feminism Theory, one can say that the female characters in all three films are clear examples of women who are independent, strong, and defiant. Even Maria, who is supposed to be perceived as submissive because she is a nun, knows how to break rules and orders.

As for The Sound of Music, the Genre Criticism is used. It reinforces how formula films “stay” in the mainstream because, although predictable, viewers never fail to imbibe the cultural values it exhibits. Utilizing a musical format, the movie is still able to reflect reality and even give a hint of historical perspective. The same is true for Chocolat, which is critiqued using Narrative Theory. Although it leaves the viewer in an expectant state because it follows the narrative film format, the movie still mirrors everyday society.

Lastly, Postmodern Theory is employed for the film Practical Magic. It is considered such because of the signs it used, which are references to other works. In addition, a plethora of signs (moon, frogs, etc.) has become overwhelming for the viewer. As well, there are some fragmented ideas included in the movie.


Synopsis
The Sound of Music
The movie is about a hard-headed nun, Maria, who is sent to be the governess of the Von Trapp children. Although she has had a difficult time at first connecting with the children, they eventually become friends.
Meanwhile, as the story progresses, Maria and Captain Von Trapp slowly fall in love with each other. This, however, is not favorable to the Baroness, who at that time is the Captain’s fiancée. To make sure that she will be the Captain’s wife, the Baroness talks to Maria and convinces her to go back to the abbey. In the abbey, Maria realizes that she has to face her feelings for the Captain. She then returns to the mansion. The Captain eventually reveals his feelings for Maria as well, and they wed.

At that time, the Nazis occupy Austria. The government asks Captain Von Trapp to return as a naval officer for the Reich. Knowing that he has no other choice, the Von Trapp family devises a plan to escape. They join the music festival, and right after their performance, they will go to the abbey to hide. From there, they will hike over the mountains to Switzerland to escape the Nazis.


Practical Magic
Due to an unfortunate historical event, the Owens family is cursed: The man that they love will die. To avoid the heartache and the curse, Sally casts a spell about his ideal man—someone whom she thinks does not exist. Since then, she has decided to live a normal life. As years pass, Sally’s aunts cast a spell on her so that she would fall in love. She falls in love, marries Michael, and together they build a family. Unfortunately, Michael dies. Sally and her kids return to her aunts.

Meanwhile, Gillian leaves the house and goes out into the world. She meets Jimmy, who later on becomes abusive. Gillian decides to ask help from her sister. However, the sisters have gotten themselves into trouble as they accidentally kills Jimmy. They decide to bring him back to life, knowing that he may return as an evil spirit. Jimmy does become an evil spirit, and Sally tries to kill him again. They bury his body afterwards.

Just as when Jimmy’s soul starts to become restless and haunt the sisters, Gary Hallett, a police officer, appears. He is looking for Jimmy, and is able to trace Gillian and Sally. Sally and Gary eventually fall in love with each other. Sally also realizes that the man she wished for is Gary.

In the meantime, Jimmy’s soul becomes even more violent that it possesses Gillian. Luckily, with the help of her aunts and neighbors, Sally is able to get rid of Jimmy’s spirit and save her sister.


Chocolat
The movie starts off by introducing the village. Its villagers are conservative and traditional. It is during the start of the Lenten season that Vianne and Anouk arrives. Much to the surprise of the villagers, especially the Comte, Vianne puts up a chocolaterie. For the Comte, this is a big act of defiance of their tradition. He starts to spread rumors and bad things about Vianne, thinking that this will drive her away.

But Vianne is persistent and determined. She befriends the villagers, particularly those whom the village thinks are crazy: Josephine and Armande. Through her chocolates, she is able to unleash some of the people’s hidden desires and passions. Because of this, the conflict between Vianne and the Comte grows. However, none of them wants to concede.

In the meantime, the river rats arrive to the village. The townspeople think of them as immoral, as people whom they should not welcome. Again, Vianne defies orders and befriends them. She later falls in love with one of them, Roux.

When the Comte learns about this, he becomes even more frustrated and mad at Vianne. He goes to her chocolaterie, and destroys her shop. Accidentally, he tastes one of her chocolates. The Comte is not able to help himself but eat all the chocolates. The next morning, Vianne finds him. He apologizes and they have become friends since then. That also paves the way for the village to learn to accept changes.