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Why I Have a Love/Hate Relationship with The Woman

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When a country lawyer finds a near-feral woman in the woods of his property, he gets an idea.  He’ll capture and culture her.  With the assistance of his family, he’ll “save” her from her wild ways and bring her to civilization.  What could possibly go wrong?

The Woman is the 2011 follow-up to Offspring and is directed by Lucky McKee.  Starring Pollyanna McIntosh as The Woman, Angela Bettis as Belle, Sean Bridgers as Chris, Lauren Ashley Carter as Peggy, and Zach Rand as Brian.

theWoman_allDolledUpRarely does a film come along that both excites and terrifies me.  The Woman is a film that’s been called a must-see horror masterpiece and I agree, but my praise comes with a warning.

The Woman is a deeply disturbing work whose content will not be readily forgotten.  Years after seeing the film for the first time, I find myself subconsciously thinking about its visual imagery and motifs.  When watching the film again recently in order to write this commentary, I had to repeatedly stop the film and walk away in order to regain my composure.

The Woman has that kind of affect on me.

With themes of misogyny, slavery, domestic abuse, and the fight for dominance, there’s little about the film that doesn’t work to expose the very darkest parts of the human soul.  Forget for a moment that the film features graphic depictions of torture, abuse, and sexual assault.  At the heart of the film, we’re still talking about a man who thinks he has the right to supplant a woman’s existence with the one he chooses for her.  This act – in and of itself – is a kind of violation that I find incredibly distasteful.

It makes for great horror.

I’ve often said that successful horror films hinge on the human factor – empathy and sympathy must be ever-present inwoman closeup the development of the story and its characters.  With The Woman, not everyone in the audience is on the same page.

For some, the themes may be presented in too-heavy a hand for comfort.  Some will feel it paints all men as evil and all women as oppressed.  I’m sorry but I have to take a stand here and say those people are wrong.  It’s just a film with a scope limited to this particular man, Chris Cleek, his horrible adolescent son, Brian, and this particular set of women.  Saying this film is a depiction of all men and all women is too idiotic to address further.

I mean, come on.  It’s not called All the Men and All the Women.  It’s called The Woman.

the-woman-luckymckee-angela-bettisIt does raise an interesting point, though, about how “normal” people can become “evil” in a particular set of circumstances.

Even though Chris is shown to be mentally, physically, and sexually abusive to the women in his life, it’s interesting to watch how the rest of the characters begin to change following the arrival of the woman.  Especially Belle.  As the mousy, abused wife of Chris, she is almost relived to have the focus of her husband’s enmity turned elsewhere.

As for Chris’ bizarre fixation on the woman, I was disgusted (as were most of you, I’m sure) by the affect it has on his son, Brian.  In his own right, Brian’s adolescent curiosity with regard to the woman is upsetting and deeply disturbing.   From behind his dead shark eyes, you can almost see Brian begin to formulate ideas on how men should treat women and how women should behave in return.

That sh*t is dark and boy does it have a talent for polarizing people.  It’s true that a man got ejected from a screening of The6968641306_7f0bb6d7bd Woman at Sundance after verbally complaining about its content.  Just do a quick search on the internet and you’ll see magnificently varied audiences reactions from “it’s perverse” to “it’s a freakin’ masterpiece!”

Performances by Angela Bettis and Pollyanna McIntosh fantastically bookend an otherwise utterly grim tale.  Sean Bridgers is largely forgettable in the role of Chris Cleek and not because the character is so vile you’ll “block him” from your memory of the film.  I have this feeling that Bridgers could have been replaced with someone older, maybe a little grittier to better affect.  His age and boyishly curly hair create a near comical air of youthful maliciousness – one born out of curiosity rather than sheer sadism and malevolence, which would have been far grislier and horrifying.

Official site: The Woman

Official trailer:

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30+ Years On, Stanley Kubrick’s Masterpiece The Shining Still Mesmerizes

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Struggling to turn his life around in the wake of alcoholism and the abuse of his child, writer Jack Torrance (Jack Nicholson) agrees to take a 5 month long off-season caretaker position at The Overlook Hotel.  Completely isolated and left to his own devices, Jack’s young son, Danny (Danny Lloyd), begins seeing things thanks to a unique psychic gift referred to as “shining”.  As a snowstorm moves in, completely cutting off the Torrance family from the rest of the world, Danny is plagued with visions of the future, events from the past, and is visited by ghosts who inhabit the hotel.

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Also starring Shelley Duvall as Wendy Torrance, Jack’s wife and Danny’s mother, and Scatman Crothers as Dick Hallorann, the hotel’s chef and a man who shares Danny’s gift, The Shining is directed by Stanley Kubrick and is (loosely, very loosely) based on a novel of the same name by Stephen King.

The division echoed by the film reviewing community and filmgoers alike when mention of Kubrick’s The Shining is made constitutes an all too familiar sentiment when the work of a popular author (Stephen King) is adapted to film.  Kubrick’s 144 minute adaptation is a slow-paced, dream-state that often breaks with the underlying themes, subject matter, and overall tone of King’s novel.  In fact, King has been quoted as saying Kubrick’s vision of his work is the only adaptation he could “remember hating”[1] mainly due to Kubrick’s changes to the personality of the main character, Jack.

There is a litany of theories in print and online that would like to inject deeper (and potentially more sinister) meaning into Kubrick’s intentional variances to King’s original work; including one that would have you believe Kubrick’s The Shining is the director’s confession to having been a part to the staging of the Apollo 11 lunar landing (see below for a link to the full-length documentary).  Still others, would ask that you consider Kubrick’s lifelong obsession with the Holocaust, and his frustration at never having been able to find an adequate project in which the matter could be explored, as a reason for the director’s hijacking of the film’s subject matter. [1]

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Most of these theories are laughable, but strangely entertaining to investigate.  I, myself, lost many hours in a YouTube rabbit hole delving into such theories.  I invite you to do the same.  All of it, even the crackpot ideas, lend themselves to the Kubrick mythology and are relentlessly fascinating.  The documentary, Room 237, gives itself over to the investigation of such theories and we encourage you to take a look.

However you take Kubrick’s adaptation, a few irrefutable truths remain.  Kubrick’s The Shining is a multi-layered experience, replete with recurring motifs (Kubrick relies heavily on mirrors throughout the film), and shot construction as a method of revealing or concealing the true nature of the events taking place in the scene.

Is Kubrick’s The Shining a ghost story?  Not necessarily.  As film critic Roger Ebert pointed out, Kubrick’s The Shining lacks a reliable character from whose viewpoint the audience can be informed.[1]  It’s never exactly clear whether the ghosts depicted in the film actually “exist” or are just mental manifestations of Jack or Danny, both of whom have questionable mental health.

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This means, we are never given a context for understanding the motivations or the intent of the ghosts inhabiting The Overlook Hotel.  Nor can we trust that the ghosts actually “exist.”

Kubrick’s The Shining then becomes a story about choice, not of ghosts, predetermination, or reincarnation (don’t let the photo at the end of the film fool you).  All of the characters in the film have multiple roles.  For instance, Jack is a father and husband.  He is both good and evil.  He is simultaneously an abusive and caring father and husband.  It is up to Jack to choose which he wishes to be.

In a sense, then, this means Kubrick’s The Shining should be viewed through the lens of being a psychological horror film despite it’s supernatural elements.

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And that’s not a bad place to be, especially considering the most powerful moments in the film center around the mental fracturing, or unraveling, of its central characters, not the ghosts of The Overlook Hotel.  Even while the scene in which the room 237 “hag” chooses to reveal her true self to Jack is disturbing, it holds but a candle to the sense of “off-ness” you will feel when Jack is shown standing, staring out the window (see above photo).

Drenched in natural light, unshaven, with pink irritated eyes, everything about this single moment in Kubrick’s The Shining tells the audience things have just gone irrevocably off the rails.

Despite the inconsistencies between book and film, of which there are many, Kubrick’s The Shining remains one of my favorite films.  It’s difficult to admit, given the fragile, hysteria-prone depiction of Wendy who continually allows herself to be mentally and verbally abused by her husband, Jack.

The decadence of the Gold Room, the never ending hallways, and grand interior design of the hotel lend a visual opulence to the film that I find intoxicating.  Every viewing of The Shining reveals something new.  Arguably, Kubrick’s masterpiece.

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Okay that’s enough Gif’s for now.

REFERENCES:

[1] ”The Shining (film)” Wikipedia: The Free Encyclopedia. Wikimedia Foundation, Inc. 15 Feb. 2013. Web.  17 Feb. 2013. <http://en.wikipedia.org/wiki/The_shining_film>

 

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