I wrote this for a class in school and thought it would fit well into this blog.
World media outlets erupted on the
night of May 2nd, 2011 as President Obama announced to the world the
death of infamous international terrorist Osama Bin Laden. News that a special operation, designed to
take out the guerilla ringleader, had leaked before the official press
junket. Social media spread word of the
alleged assassination like a firestorm.
Crowds gathered outside the white house proclaiming American superiority
as the man whose image had haunted them since the attacks on September 11, 2001
was screened on household flat screens nationwide. It was a moment of serendipity.
Meanwhile,
somewhere in the country of Kazakhstan, an American film crew was shooting an
account of the near assassination of Bin Laden in Abbottabad, Pakistan in
2002. Directing the project was Kathryn
Bigelow, the first female ever to win Best Director at the Oscars for her film
“The Hurt Locker” back in 2009. Production stopped abruptly as word of the Bin
Laden assassination made international headlines. Screenwriter Mark Boal, Academy Award winning
writer for the same film in 2009, went immediately into research and rewriting
as the story they were telling all of a sudden had a new ending.
The
film is “Zero Dark Thirty.” It will be
released this holiday season, a mere 18 months after the assassination. Early reviews are proclaiming it a
masterpiece. The film has already won
major awards from the Boston Society of Critics and the New York Film Critics
Circle Awards, and Bigelow has become the front-runner for Best Director at
next year’s Academy Awards. This would
make her the only female to win two Best Director Oscars, and the only women
still, to ever win an Oscar for directing. It is an incredible individual feat, but
reflects a larger issue that most people in the business would rather stay
quiet about. It is the issue of women’s
roles in Hollywood. This film indicates a
fast coming trend. That is, the major
forces controlling the content are no longer the men, but the women. And in my opinion, Hollywood would be better
off accepting it. Women deserve a more
prominent role in making creative decisions on content for entertainment.
Zero Dark Thirty
is significant in that the producer, the director, and the lead actor are all
women. Megan Ellison, daughter of
multi-billionaire software creator Larry Ellison is producing the film with her
newly founded Annapurna Pictures. Her
production company has recently been responsible for such films as “True Grit,”
“Lawless,” “The Master,” and “Killing Them Softly.” The director is Kathryn Bigelow, and newcomer
Jessica Chastain plays the film’s title role.
In fact, in recent years a few films have been made that reflect this
same trend. The film “We Need to Talk
about Kevin,” was written and directed by Lynne Ramsey, and starred Academy
Award winning actress Tilda Swinton. In
2010, the winner of Sundance Film Festival’s coveted Grand Jury Prize was
“Winter’s Bone.” The film was written
and directed by Debra Granik, and the film’s star was Jennifer Lawrence,
playing a strong, independent young woman, raising her two siblings. In each of
these films, the director made key choices involving the casting process, the
writing process, and the overall production and tone of the film. These films have strong and intimate themes
connected to being a woman in strenuous circumstances, but are not engrossingly
feministic. The final result, excluding
“Zero Dark Thirty,” are strong portraits of womanhood, told
with more power and conviction than most films made by men.
But even with
these women establishing their importance in the creative community of
filmmakers, reaction has still been overwhelmingly sexist. After her Oscar win in 2009, a New York Times
article made this point by saying, “The Hurt Locker didn’t just punch through
the American movie industry’s seemingly shatterproof glass ceiling; it has also
help dismantle stereotypes about what types of films women can and should
direct.” In fact, before she even won
the award, various journalists, critics, and bloggers were saying that if she
did win, it would be because she is a woman, not because her film is good. When Barbra Streisand
won the Golden Globe for best director in 1991 for her film “The Prince of
Tides,” she was considered a front-runner for Best Director at the Academy
Awards a few months later. But this did not happen. In an
LA Times article earlier this year, it was found that Oscar voters are ¾ male
and median age of 62. Project those
stats in 2012 back in time to 1991, and it would be a safe assumption to make
that the Academy voters were mostly old, white males then too. What is even more unfortunate is that the
entire academy is only composed of 2% black voters, and 2% Latino voters. Most
minority groups do not receive fair representation. In fact, in the same year Bigelow’s film was
up for awards, Lee Daniels’ film “Precious,” was also considered a frontrunner
to win best director and best film. That
would have made Lee Daniels the first African American ever to win an Oscar for
Directing. The only other black director to
even be nominated for a directing Oscar was John Singleton back in 1993 for his
film “Boyz in the Hood.” But that issue
is an entire discussion in its own right.
But even with men
dominating the industry, few strong willed women have found a voice. Silent film actress Mary Pickford, founded
United Artists studio back in 1919 with Charles Chaplin, Douglas Fairbanks, and
DW Griffith. This made her the first
woman to have a prominent role in Hollywood film production. Her time was short, however, as the
implementation of sound in film made her irrelevant. Martin Scorsese’s long time editor is Thelma
Schoonmaker. She has edited almost all
of Scorsese’s films, and has won three Oscars doing so. Nora Ephron, director of films such as
“Sleepless in Seattle” and “You’ve Got Mail,” was able to have a long,
productive career as a filmmaker. Steven
Spielberg’s longtime producing partner Kathleen Kennedy has produced films
since E.T. Recently in animation, women
have found more prominent roles in their profession. Brenda Chapman and Jennifer Yuh Nelson have
recently directed feature films at Pixar and DreamWorks animation studios;
Chapman directed “Prince of Egypt” at DreamWorks back in 1998. The upcoming Disney film “Frozen” will be
co-directed by Jennifer Lee, and a recent article from The Hollywood Reporter
stated that 85% of DreamWorks Animation producers are women.
In my opinion,
with the tides changing, and the influx of women coming into the industry year
after year going up, we should see more films directed by women, and
specifically made about women. Point of
view is crucial in film, and we have already heard enough about the struggles
of being a man in the 21st century.
Some of my favorite filmmakers, Spielberg, Scorsese, and Fincher, make
deeply personal films, and always from the male’s point of view. With Granik and Ramsey making uniquely
feminine films, I think people are being exposed
to content that makes them better.
Watching a story from a female’s perspective should add a level of
insight into the experience of others.
That’s what makes film so brilliant, the chance to live someone else’s
life for an hour or two.
Hollywood is
trending toward women having the same prominence in filmmaking as the men. As long as women are becoming increasingly
relevant in creative decision-making, it is a good thing. The goal is not necessarily dominance, but
balance. A few women are guiding the way
today. Kathryn Bigelow will continue to
do great things with the films she makes.
The stereotype that women can only direct a certain kind of film will
continue to be upended. For now,
Hollywood must deal with its own prejudices.
Opportunity has only been given to the few lucky ones. It is important that filmmakers of a
different sex, race, and cultural understanding have their work distributed to
a wide audience. There are infinite
stories that can and should be told. It
is mandatory that we hear them.