Does anyone else struggle with the word B*&CH? I do. One of my favorite characters: Lafayette on True Blood throws it around like it's about to go out of style and I still love him, but I can't bring myself to let that word slip past my lips.
Sadly, there aren't any alternatives that get the point across quite as well as that word. B*&ch is a very versatile word, it can be an insult or an affirmation of female power as in "Queen B*&ch." "She is such a *Diva!" or "What a *Shrew!" lack a certain forcefulness that if you replace the * with B&*ch it can propel it into another linguistic category. There can be an almost grudging sense of respect attached to that word. An episode of one of my favorite show centered around a group of four African-American females (now off the air): Girlfriends, devoted an entire episode to that word. The basic premise was that an outsider called one of them a *b*&ch and it made them re-examine their own usage of the word amongst themselves. I think, ultimately they decided to stop using it but it was an unsatisfactory sort of lesson. There wasn't a good alternative that they could find. Does the dual uses of the word b*&ch, both as an insult or suggestion of female power detract from it's usage in pop culture? It does for me...words have a lot of power and I think that this word is a destructive force that takes away from women more than it gives.
Showing posts with label Comedy. Show all posts
Showing posts with label Comedy. Show all posts
Monday, June 11, 2012
B*&%$
Does anyone else struggle with the word B*&CH? I do. One of my favorite characters: Lafayette on True Blood throws it around like it's about to go out of style and I still love him, but I can't bring myself to let that word slip past my lips.
Sadly, there aren't any alternatives that get the point across quite as well as that word. B*&ch is a very versatile word, it can be an insult or an affirmation of female power as in "Queen B*&ch." "She is such a *Diva!" or "What a *Shrew!" lack a certain forcefulness that if you replace the * with B&*ch it can propel it into another linguistic category. There can be an almost grudging sense of respect attached to that word. An episode of one of my favorite show centered around a group of four African-American females (now off the air): Girlfriends, devoted an entire episode to that word. The basic premise was that an outsider called one of them a *b*&ch and it made them re-examine their own usage of the word amongst themselves. I think, ultimately they decided to stop using it but it was an unsatisfactory sort of lesson. There wasn't a good alternative that they could find. Does the dual uses of the word b*&ch, both as an insult or suggestion of female power detract from it's usage in pop culture? It does for me...words have a lot of power and I think that this word is a destructive force that takes away from women more than it gives.
Saturday, April 16, 2011
An Aside
My Bromance Proposition
Film critic Andrew Sarris has defined the screwball comedy as "a sex comedy without the sex”.
Why are women superfluous in Bromance? They serve two functions: the to-be-looked-at women, usually strippers or random women that are displayed for viewing pleasure only, the second type is the shrew or the cruder term would be a bitch who serves to remind the male protagonist/s why they need or prefer their male companions. Other than as eye candy woman are underdeveloped character-wise. I am often left wondering why they are there; they are literally wastes of space. In comparison, there are very few films with genuine women friendships are depicted and men are the throwaway characters.
The significance of Bromance is the true romance and coming together is between the men. Women’s friends in films, like women in Bromances are not crucial they might provide momentary distractions and small amounts of comic relief but they fade into the background and never fully reappear. Male companions are actually present through the entire film; much to the dismay of screen wives and girlfriends. A case study of this would be the film The Hangover, the last scene of the film centers around the four main male characters. They have made it home from their Vegas trip half alive so that Doug can get married. They arrive just in time and he gets married, at the reception we have a brief glimpse of the bride and then no more the film ends with the men lounging in chairs discussing their wild trip. What a way to begin a marriage—hanging out with your male friends.
Classic Screwball was unique—women and men were equal or at least verbally equal, they sparred, they flirted, but mainly they had fun. For some reason this is no longer the case. The non-traditional couple is now the space for this type of relationship. Mother and Daughter a la Gilmore Girls or male/male combos via buddy films and bromances. One theory is that sex during the production code enforcement was absent and now that same sex-less state for obvious reasons is absent so it adds that missing element of sexual frustration has been funneled into common everyday frustrations.
Obviously the friendships and romances shown are fantasies and not real depictions of those relationships. Not many people can afford to keep the same routines that they have with friends in college into life after. Movies such as Knocked Up with Seth Rogen where he has no job except for a website that he runs with his friends and some money leftover from a lawsuit and he manages to live quite nicely without an actual job. Can you imagine female actresses in the male roles in Bromances? Are audiences even ready for such a thing…
I am very interested to see the new film, Bridesmaids (May 2011) starring Kristen Wiig, Maya Rudolph, John Hamm. I’ve only seen the trailer a few times and it seems like it will be funny. It is being lauded as the female version of Hangover and I am hoping that it is in some ways. Much to my dismay I love Bromances—they embody things that I love most—they are raunchy, irreverent and funny; unfortunately, they only portray women as stereotypes. Trying to find a film that is the female version of a Bromance has been elusive and it will continue to be until I break down and write it myself. Like ethnicity is dealt with in films so is being a woman. There are many conclusions to be drawn from the depictions of women in films. What stands out to me the most is that as long as sex stands in the way women cannot have fun like their male counterparts. Plus the whole “looks” thing, if you have any sexual appeal, which you usually have to have in order to make it in Hollywood, then you are a sex object and the power that this creates cancels out anything else, and if you are unattractive, god help you, there is no place for you except as a creature to ridicule. Back to the original question can women have fun, be funny, and not be so concerned with finding a partner, and be likable, and simultaneously not be made a sex object? Is there even a market for this type of product? All questions for the future. Stay tuned for a post about the film Bridesmaids.
Film critic Andrew Sarris has defined the screwball comedy as "a sex comedy without the sex”.
Why are women superfluous in Bromance? They serve two functions: the to-be-looked-at women, usually strippers or random women that are displayed for viewing pleasure only, the second type is the shrew or the cruder term would be a bitch who serves to remind the male protagonist/s why they need or prefer their male companions. Other than as eye candy woman are underdeveloped character-wise. I am often left wondering why they are there; they are literally wastes of space. In comparison, there are very few films with genuine women friendships are depicted and men are the throwaway characters.
The significance of Bromance is the true romance and coming together is between the men. Women’s friends in films, like women in Bromances are not crucial they might provide momentary distractions and small amounts of comic relief but they fade into the background and never fully reappear. Male companions are actually present through the entire film; much to the dismay of screen wives and girlfriends. A case study of this would be the film The Hangover, the last scene of the film centers around the four main male characters. They have made it home from their Vegas trip half alive so that Doug can get married. They arrive just in time and he gets married, at the reception we have a brief glimpse of the bride and then no more the film ends with the men lounging in chairs discussing their wild trip. What a way to begin a marriage—hanging out with your male friends.
Classic Screwball was unique—women and men were equal or at least verbally equal, they sparred, they flirted, but mainly they had fun. For some reason this is no longer the case. The non-traditional couple is now the space for this type of relationship. Mother and Daughter a la Gilmore Girls or male/male combos via buddy films and bromances. One theory is that sex during the production code enforcement was absent and now that same sex-less state for obvious reasons is absent so it adds that missing element of sexual frustration has been funneled into common everyday frustrations.
Obviously the friendships and romances shown are fantasies and not real depictions of those relationships. Not many people can afford to keep the same routines that they have with friends in college into life after. Movies such as Knocked Up with Seth Rogen where he has no job except for a website that he runs with his friends and some money leftover from a lawsuit and he manages to live quite nicely without an actual job. Can you imagine female actresses in the male roles in Bromances? Are audiences even ready for such a thing…
I am very interested to see the new film, Bridesmaids (May 2011) starring Kristen Wiig, Maya Rudolph, John Hamm. I’ve only seen the trailer a few times and it seems like it will be funny. It is being lauded as the female version of Hangover and I am hoping that it is in some ways. Much to my dismay I love Bromances—they embody things that I love most—they are raunchy, irreverent and funny; unfortunately, they only portray women as stereotypes. Trying to find a film that is the female version of a Bromance has been elusive and it will continue to be until I break down and write it myself. Like ethnicity is dealt with in films so is being a woman. There are many conclusions to be drawn from the depictions of women in films. What stands out to me the most is that as long as sex stands in the way women cannot have fun like their male counterparts. Plus the whole “looks” thing, if you have any sexual appeal, which you usually have to have in order to make it in Hollywood, then you are a sex object and the power that this creates cancels out anything else, and if you are unattractive, god help you, there is no place for you except as a creature to ridicule. Back to the original question can women have fun, be funny, and not be so concerned with finding a partner, and be likable, and simultaneously not be made a sex object? Is there even a market for this type of product? All questions for the future. Stay tuned for a post about the film Bridesmaids.
Monday, February 21, 2011
Here Meet My Baby Mama: Juno
Juno (2007)
Dir. Jason Reitman Written by: Diablo Cody
Starring: Ellen Page, Michael Cera, Jennifer Garner, Allison Janney, Jason Bateman
Leah: Yo Yo Yiggady Yo.
Juno MacGuff: I'm at suicide risk.
Leah: Juno?
Juno MacGuff: No, it's Morgan Freeman. Do you have any bones that need collecting?
Leah: Only the one in my pants...
Juno MacGuff: I'm pregnant.
Leah: What? Honest to blog?
Juno MacGuff: Yeah. Yeah, it's Bleekers.
Leah: It's probably just a food baby. Did you have a big lunch?
Juno MacGuff: No, this is not a food baby all right? I've taken like three pregnancy tests, and I'm forshizz up the spout.
Leah: How did you even generate enough pee for three pregnancy tests? That's amazing...
Juno MacGuff: I don't know, I drank like, ten tons of Sunny D... Anyway dude, I'm telling you I'm pregnant and you're acting shockingly cavalier.
Leah: Is this for real? Like, for real for real?
Juno MacGuff: Unfortunately, yes.
Leah: Oh my GOD. Oh shit! Phuket, Thailand!
Juno MacGuff: There we go. That was kind of the emotion that I was searching for on the first take.
Juno MacGuff: I'm at suicide risk.
Leah: Juno?
Juno MacGuff: No, it's Morgan Freeman. Do you have any bones that need collecting?
Leah: Only the one in my pants...
Juno MacGuff: I'm pregnant.
Leah: What? Honest to blog?
Juno MacGuff: Yeah. Yeah, it's Bleekers.
Leah: It's probably just a food baby. Did you have a big lunch?
Juno MacGuff: No, this is not a food baby all right? I've taken like three pregnancy tests, and I'm forshizz up the spout.
Leah: How did you even generate enough pee for three pregnancy tests? That's amazing...
Juno MacGuff: I don't know, I drank like, ten tons of Sunny D... Anyway dude, I'm telling you I'm pregnant and you're acting shockingly cavalier.
Leah: Is this for real? Like, for real for real?
Juno MacGuff: Unfortunately, yes.
Leah: Oh my GOD. Oh shit! Phuket, Thailand!
Juno MacGuff: There we go. That was kind of the emotion that I was searching for on the first take.
The 411: Girl Juno (Page) and a friend Bleeker (Cera) have sex once and she gets pregnant. Like any wisecracking teen would she deals with it by joking; "Yeah, I'm a legend. You know, they call me the cautionary whale." She finds a couple to adopt the baby and continues to live the ups and down of her teenage life.
Juno immediately came to mind when I was trying to think of a modern Screwball Comedy. I don't know that I've ever come across a movie that manages to pull of a teen pregnancy in the way that this film does. It is irrevrent and humane in it's dealings with the subject matter. And the dialogue is appropriatley lightning fast and brilliant.
There is a teenage couple, zany antics, sharp and fast dialogue, a slight touch of drama, and all of this in 96 minutes. What more could anyone ask of a teen pregnancy movie.
Su-Chin: I'm having a little trouble concentrating.
Juno MacGuff: Oh well I could sell you some of my Adderall if you want.
Su-Chin: No thanks I'm off pills.
Juno MacGuff: That's a wise choice because I knew this girl who like had this crazy freak out because she took too many behavioral meds at once and she like ripped off her clothes, and dove into the fountain at Ridgedale Mall and was like, "Blah I am a Kracken from the sea!"
Su-Chin: I heard that was you.
Juno MacGuff: Well, it was good seeing ya Su-Chin.
Tuesday, February 15, 2011
Is You Is Or Is You Ain't My Screwball?
http://www.listal.com/viewimage/3857A Fish Called Wanda (1988)
Dir. Charles Crichton Written by: John Cleese & Charles Crichton
Starring: John Cleese, Jamie Lee Curtis, Kevin Kline, Michael Palin, Tom Georgeson9
Otto: Don't call me stupid.
Wendy: Why on earth not?
Otto: Oh, you English are *so* superior, aren't you? Well, would you like to know what you'd be without us, the good ol' U.S. of A. to protect you? I'll tell you. The smallest fucking province in the Russian Empire, that's what! So don't call me stupid, lady. Just thank me.
Wendy: Well, *thank* you for popping in and protecting us.
Otto: If it wasn't for us, you'd all be speaking *German!* Singing "Deutschland, Deutschland über alles..."
Wendy: Why on earth not?
Otto: Oh, you English are *so* superior, aren't you? Well, would you like to know what you'd be without us, the good ol' U.S. of A. to protect you? I'll tell you. The smallest fucking province in the Russian Empire, that's what! So don't call me stupid, lady. Just thank me.
Wendy: Well, *thank* you for popping in and protecting us.
Otto: If it wasn't for us, you'd all be speaking *German!* Singing "Deutschland, Deutschland über alles..."
Searching for, what I call neo-Screwball comedies, is more difficult than I thought. I found a few pitiful lists--they contained mostly films that I've either thought of or ones that might have a few screwballish tendencies but never the real deal. This film, A Fish... was on one of those lists and so I dutifully ordered it from the local library. It came and I popped it into the DVD player, actually I carefully placed it in the player so as not to scratch it like any good Film buff would and sat back and relaxed.
The basic premise:
Set in London, four people come together to pull of an jewelery robbery. Within the group of four there are dyad's that have formed alliances previously to the group coming together. Wanda (Curtis) and Otto (Kline) are couple who pretend to be brother and sister-to make things easier-George (Georges) and Ken (Palin) are the other alliance. They all plan, plot, and execute the crime and make off with the loot. The next phase of the plan requires them to all separate and for one to take the jewels and hide them. After this they are supposed to meet divvy up the jewels; only they and don't and then they can't.
On the basis of a good comedy film it was one. I tittered in spots and enjoyed the performances of the leads but it missed the mark for me on several points if it is to be considered a Screwball Comedy. Mostly it was missing the complete zaniness of true SC. That oh-so-elusive element that makes SC'S still funny and refreshing so many years later.
I am all for vugarity, but I am not sure how I feel about the use of vugarity within a SC. One theory that I operate under is that the reason some genres of classic films exist, and in my opinion Rock!, are because they had to work around and underneath the MPPDA, aka the Hays Code, censorship does wonders for creativity. Two of my absolute favorite genres, Screwball Comedies and Film Noir benifitted wonderfully from the production code.
So while, I feel like the movie is wonderfully inventive and a lovely comedy it is not going to be labeled Neo-Screwball by me. But I reserve the right to change my mind;)
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