The Allure and Illusion of Femininity: Shelly and the Showgirl Dilemma
In the world of performance and artifice, Shelly, a showgirl, embodies the dual identity of a woman who is both a creation of fantasy and a person with real-life struggles. Onstage, Shelly transforms into a vision of old-fashioned femininity, her costume and demeanor designed to captivate and enthrall. She represents a character who finds power in feeling beautiful, yet this beauty is a meticulously crafted illusion. It is a performance of femininity that caters to a certain ideal, one that is deeply rooted in tradition and expectation. However, when the curtains close, Shelly sheds her costume and returns to her everyday life, where she is just another person navigating the complexities of friendship, work, and personal concerns. Her story, as portrayed in The Last Showgirl, serves as a metaphor for the broader American dream, where commodified bodies are given an expiration date, and women must constantly fight to reclaim their value and agency in a world that often views them as disposable.
Director Sofia Coppola sees this narrative as a reflection of the struggles women face not just in the entertainment industry but in society at large. The showgirl’s world is a microcosm of the female experience, where women are expected to conform to certain ideals of beauty and femininity while simultaneously facing the harsh realities of aging, exploitation, and marginalization. Yet, amidst these challenges, women find strength in solidarity, building communities and supporting one another in ways that challenge the systems that seek to commodify and control them. The Last Showgirl is, therefore, not just a story about a fading art form but a powerful commentary on the resilience and determination of women in the face of societal constraints.
The Male Gaze and the Objectification of Women in Art
The portrayal of women in art and media has long been shaped by the male gaze, a concept explored by art critic John Berger in his groundbreaking 1972 book Ways of Seeing. Berger argues that women in art are often depicted in ways that cater to the assumed male spectator, with their images designed to flatter and appeal to men rather than reflect their own identities or experiences. This critique is evident in the galleries of the Metropolitan Museum of Art, where women are depicted as Madonnas, courtesans, queens, servants, dancers, bathers, and nudes. These representations, whether idealized or sensual, are framed through the lens of male desire and admiration, reducing women to objects of beauty rather than complex individuals with their own narratives.
Berger’s analysis reveals a profound imbalance in how women are portrayed in art and culture. The “ideal” spectator is assumed to be male, and women are thus depicted in ways that cater to this assumed audience. This is not because women are inherently different from men, but because the systems of art and representation have historically been controlled by men. As a result, women are often seen through the lens of their physicality and their relationship to men, rather than their own desires, ambitions, and experiences. This dynamic is not confined to art but extends to other forms of media, including film, where women have long been objectified and stereotyped.
The Evolution of Women in Film: FromObjectification to Agency
The early 20th century marked a turning point in the representation of women in film, as actresses began to bring new sensibilities and desires to the screen. According to film critic Molly Haskell, the 1930s saw a shift in how women were portrayed, with female characters increasingly allowed to express sexual desire without being vilified or exoticized. However, this brief moment of progress was soon curtailed by the introduction of stricter censorship codes, which sought to regulate the content of films and enforce traditional moral values. It wasn’t until the 1970s and 1980s that women began to reappear on screen in more complex and mature roles, paving the way for the diverse female characters we see in cinema today.
Despite these advances, the film industry has long been criticized for its treatment of women. Actresses, particularly those in early Hollywood, were often subjected to brutal studio systems that controlled their images and careers. Many were expected to conform to certain beauty standards, and those who didn’t fit the mold were often dismissed or marginalized. Bette Davis, for example, was told after her 1931 debut in Bad Sister that her face was not photogenic according to Hollywood standards. Similarly, Judy Garland’s struggles with body image and addiction have become well-documented, highlighting the often cruel and exploitative nature of the studio system. These stories serve as a reminder of the challenges women have faced in the entertainment industry, where their value has often been tied to their physical appearance and their ability to conform to certain ideals.
The Struggles of Actresses in Hollywood’s Golden Age
The personal struggles of actresses like Bette Davis and Judy Garland offer a stark contrast to the glamour and glitz of Hollywood’s Golden Age. While these women captivated audiences with their talent and charisma, their off-screen lives were often marked by pain and resilience. Davis, a trailblazer in her own right, was initially dismissed by studio executives who deemed her unphotogenic. Yet she went on to build a legendary career, proving her doubters wrong. Garland, on the other hand, faced a different kind of struggle, one that was deeply tied to her physical appearance and the pressures placed on her by the studio system. In her memoirs, Garland revealed the disturbing reality of her teenage years, during which she was constantly monitored and controlled by MGM executives who dictated what she should eat, how much she should weigh, and how she should present herself to the world.
Garland’s experiences highlight the darker side of Hollywood’s treatment of women. From a young age, she was subjected to a relentless regime of dieting and self-control, with her body becoming a battleground in the studio’s efforts to mold her into the perfect starlet. This commodification of her body and image took a profound toll on her mental and physical health, leading to a lifelong struggle with addiction and self-esteem. Garland’s story is not unique; many actresses of her era faced similar pressures, their bodies and appearances scrutinized and controlled by the studios that employed them. These women were often seen as commodities rather than artists, their value tied to their ability to meet the beauty standards of the time.
Reclaiming Women’s Stories: From Objectification to Empowerment
Despite the challenges they faced, women in film have always found ways to reclaim their stories and assert their agency. From the early days of Hollywood to the present, actresses and filmmakers have worked to challenge the objectification and marginalization of women in the industry. The 1970s and 1980s marked a particularly significant period of change, as women began to return to cinema in more complex and nuanced roles. This shift was driven in part by the work of feminist critics like Molly Haskell, who used their writing to challenge the ways in which women were represented in film.
Haskell’s work in From Reverence to Rape is a powerful example of this. By examining the history of women in film, she lays bare the ways in which they have been objectified and stereotyped, while also highlighting the moments of resistance and subversion that have always existed. Haskell’s analysis serves as a reminder that the representation of women in film is not static; it is shaped by the cultural and social contexts of the time. As women have gained more control over their own narratives, both in front of and behind the camera, we have seen a shift toward more diverse and inclusive portrayals of female experience.
A Reflection of Societal Change: Women’s Stories in Film
The stories of women in film are more than just entertainment; they are a reflection of the broader societal changes that have shaped the way we see and understand women. From the objectified nudes of Renaissance art to the complex female characters of modern cinema, the representation of women has evolved over time, influenced by the cultural, social, and political contexts of each era. Yet, despite these changes, many of the same challenges persist. Women continue to be objectified and commodified, their bodies and images used to sell products, tell stories, and reinforce certain ideals of femininity.
However, the resilience and determination of women in the film industry offer hope for a different future. By reclaiming their stories and asserting their agency, women are challenging the systems that have long sought to control and exploit them. This is not just about representation; it is about power. When women have the opportunity to tell their own stories, to create their own images, and to shape their own narratives, they challenge the dominant structures that have historically marginalized and objectified them. In doing so, they pave the way for a more inclusive and equitable future, one where women are seen as complex, multifaceted individuals rather than objects for the male gaze.
In the end, the story of women in film is one of struggle and resilience, of objectification and empowerment. It is a story that reflects the broader societal changes of the past century, while also highlighting the work that still needs to be done. As we move forward, it is important to continue challenging the systems that have historically marginalized and exploited women, while also celebrating the progress that has been made. By doing so, we can work toward a future where women are truly seen and valued for who they are, both on and off the screen.
