This weekly column has been dedicated to females on the silver screen that inspire us. Those that through their bravery, humour or integrity have provided a much-valued feminine presence throughout cinematic history, and shown us what it means to be a woman surviving alien attacks in space, swordfights in trees or high school in 1950s America. The role models have been diverse, with barely any similarities, save their strong representation of women.
Sadly, not all female characters are worthy of being considered film heroes. These ‘other’ women flail about helplessly, waiting for a man to come and save them and poke two fingers up at anybody’s idea of feminism. I can try to pretend that these characters don’t exist and sometimes I even succeed, but when I notice that their weak, misguided behaviour is being fed to impressionable young women and girls – I worry. The example they set is entirely wrong and yet, when they succeed, the message is one of support and endorsement. Well, not any more – for I bring you the top ten female film anti-heroes. Imitate at your own risk.
Sandy Olsson from Grease
Gives herself a radical makeover to win the approval of super-stud Danny Zucko. Yes, shaving your legs for that big date is allowed, but compromising your principles and entire character is not.
Girls from slasher horror films
A complete genre that represents women as nothing more than screaming victims. These films seem to enjoy the exploitative violence against women, with only the rare example (e.g. the Scream trilogy) adding any substance to the roles. Anonymous pretty girls rendered helpless – ick.
Vivian Ward from Pretty Woman
Of course there are things to enjoy about the 1990 hit romance, with Richard Gere scrubbing up quite nicely in a suit and the fairy-tale magic there in abundance. But the message, people – what is the message of the film? That cheap hookers can be redeemed by a man with a big cheque book. Roberts is effortlessly charming in the central role, but a prostitute with no baggage (be it pimp, criminal past, drug/ alcohol problems, children, health-related) and a devotion to romance that sees her refuse to kiss clients on the lips? It’s Pygmalion updated, but that in itself was reasonably offensive. I know that the inclusion of this character will probably be very unpopular, but unlike this bland and insulting drivel – I don’t care.
Natalie, Dylan & Alex from Charlie’s Angels
Described by film critic Robert Roten as ‘an anti-feminist wet t-shirt display”, these two films reduce accomplished actresses Cameron Diaz, Lucy Liu and Drew Barrymore (who actually produced it !?) to lobotomized bimbos. Seemingly the Angels fight crime with a combination of hair-flicking and somersaulting, while churning out some of the most cringe worthy sexual puns and smutty innuendoes. Ooh – such modern feminists!
The psychotic ex
Glenn Close’s vengeful Alex Forrest coined the term ‘bunny-boiler’ when she went ape at being spurned by her lover in Fatal Attraction. We all know how hard it is to pull yourself together again after being treated badly or when recovering from a failed relationship, but Alex and this type of onscreen woman leave their morals at the door as they seek retribution. Fatal Attraction is particularly disturbing in its suggestion that philanderer Dan Gallagher (Michael Douglas) did nothing to deserve Alex’s fury, but why are women always shown to be maniacal, deranged lunatics that lose the ability to function properly when ditched? Apparently we are that pathetic, that close to losing it and that inferior to the well-balanced men.
Any character played by Denise Richards
That girl has the onscreen IQ of a digestive biscuit and is really only there to look good. Perhaps her most significantly awful outing was as Dr. Christmas Jones in the Bond flick The World is Not Enough. Bond films often reduce women to nothing more than eye candy and Denise’s nuclear physician doesn’t let them down.
Matty Walker in Body Heat
Body Heat is an infinitely watchable modern film noir with Kathleen Turner’s sexy Matty a real showstopper. As much as I want to like her for being an uncompromising and focused woman, the idea of bribing men to do your dirty work using sex just leaves a bad taste in my mouth. As pure fantasy, the character is harmless enough. As a potential role-model for young women, she supports the idea that all we have to offer the world is a good time in the sack.
Carrie from Four Weddings and a Funeral
This is no diatribe on Andie MacDowell’s performance in the Richard Curtis rom-com – as there isn’t one. Carrie isn’t a real character, but a concept: that of the beautiful, aloof, unattainable stranger. In the plot this serves its function well enough, but in a film full of colourful, interesting, charming characters – why couldn’t the leading lady have just a handful of winning lines? We feel familiar and intimate with the rest of the cast, but Carrie is purely ornamental, telling viewers that women who look good in a hat, but offer no degree of personality are what men are looking for. So unimportant she doesn't even warrant a surname.
The hanger-on girl
You’re watching an action film, the guy gets to hunt down the bad guy, save the world and what is his prize for such heroics? He gets to kiss the girl. These girls can be dressed up as being smart or important to the plot, but really they’re just someone for the male to talk to and probably save come the final act. Sometimes I wonder how the girl manages to get herself into peril right at the crucial last minute (see: Speed), but thankfully she always does just to prove how helpless she would be without her man. Sigh.
Queen Padme Amidala from the Star Wars prequels
Natalie Portman is so wasted in this role. Though she gets to join in the action in Attack of the Clones, Padme is often reduced to crying over her man and staring wistfully out of windows. Some concessionary political stories and her royal status cannot save Padme from being the archetypal stay-at-home wet dish cloth.
Have I been too harsh or have I omitted your pet peeve? Leave a comment and let us know.
