Thelma And Louise A Feminist Portrayal Of - have facedSuddenly, a film in which women were, in every sense, behind the wheel. It turned the tables on Hollywood, instantly becoming a classic, and continues to electrify audiences as a cultural statement of defiance. Only through sheer hard work and more than a little good luck did the script end up in the hands of the brilliant English filmmaker Ridley Scott, who saw its huge potential. With Scott on board, a team willing to challenge the odds came together—including the stars Geena Davis and Susan Sarandon and a fresh-faced up-and-coming actor named Brad Pitt, as well as legends like actor Harvey Keitel, composer Hans Zimmer, and old-school studio chief Alan Ladd Jr. At four a. But in the late s, Hollywood was dominated by men, both on the screen and behind the scenes. The likelihood of a script by an unheard-of screenwriter starring two women in lead roles actually getting made was remote. In Off the Cliff , Becky Aikman tells the full extraordinary story behind this feminist sensation, which crashed through barricades and upended convention. Drawing on exclusive interviews with the key players from this remarkable cast of actors, writers, and filmmakers, Aikman tells an inspiring and important underdog story about creativity, the magic of cinema, and the unjust obstacles that women in Hollywood continue to face to this day. Thelma And Louise A Feminist Portrayal Of
Thelma And Louise A Feminist Portrayal Of - necessary phraseAnd how did he let you come? To this day I imagine that the vast majority already know this film, but if you have not yet seen it, you may now find a spoiler in this text. Both are originally from the interior of the United States, from a totally patriarchal world in which their roles are only allowed in the domestic sphere, their friendship will be the engine that will lead them together on a great adventure. Their own being will undergo transformations as they advance through the endless roads of the south-central United States. Together they decide to escape their routine for a weekend, isolate themselves in a house far from the city and thus be able to disconnect from the world in which subjects still live. Louise is much more aware of the reality around them. The journey will soon suffer a radical detour, when both will face the cruellest situation a woman can face, face to face with the bitterest of male domination: sexual abuse, a facet of this world Louise already knew. Will it be idyllic, nor will her clothes be those of exemplary women?
Better safe than sorry though.
Praise & Reviews
A thug is raping Thelma Davis in the parking lot of a bar. The man freezes, and Thelma wriggles away. This is brave, but seems designed to fit her agenda better than the needs of the audience. Indeed, much the same could be said of the whole script, which can be summarised in four words: all men are bastards.
The problem is, cliches are cliches, regardless of what sex they are. On the other hand, the script goes out of its way to ensure every woman is portrayed sympathetically, down to the truckstop waitress.
However, if you need proof that a mediocre script can be salvaged by acting and directing, this is it. Between them, Davis, Sarandon and Scott plus cinematographer Adrian Biddle bring incredible depth to the characters and their story. No further proof is needed than to contemplate some of the other pairings who were mooted for the film: Jodie Foster and Michelle Pfeiffer or, god help us, Meryl Streep and Goldie Hawn.
This is partly because Thelma is such a dumb broad, who behaviour is initially more like that of a hormone-crazed teenager. Within hours of nearly being raped — hey, you go line-dancing, whaddya expect? Femnist Thelma! While Louise initially seems to be the stronger, the cracks begin to show before long, not least in her near-hysterical refusal to enter Texas, regardless of the resulting detour.
These are two fabulous portrayals — unlike Khouri, fully deserving their Oscar nominations the statue went to Jodie Foster for Silence of the Lambs — which salvage potentially laughable moments with convincing emotion that blows away the script deficiencies. And in contrast to the grim ugliness of their predicament is the luminous postcard photography of mythic America, in the shape of oil-wells, ruler-straight roads, pylons and buttes, on their way to that quintessential American location, the Grand Canyon.]