'I Have the Power?':Older Women Playing "Villains" in Film and Telvision

Once you pass the age of 55 do women automatically become evil manipulative people.  Hollywood seems to paint that picture.  I was watching Hannah and Her Sister (1986) from writer, director Woody Allen, and realized roles like this for women at any age just do not exist on this level anymore.  My only argument is that the Woodman himself has continued to create unique and interesting women, see this years Blue Jasmine.

Back to Hannah and Her Sisters, why single out this film?  Hannah centered around three sisters and the men in their lives, the three sisters were played by Mia Farrow, Dianne Wiest, and Barbara Hershey.  Each sister is unique, has their own essence, and does not ever become one note, shrill, or resort to negative stereotypes.

Woody returns to this sister story in Blue Jasmine with both Cate Blanchett and Sally Hawkins the two characters are layered, while a bit crazier than Hannah, and her two sisters, the dynamic in both films is brilliantly formulated, and Mr. Allen knows how to weave a beautifully written story for a woman.

Moving on from Woody Allen, and these two great films I thought about Barbara Hershey's career trajectory as she has aged.  In recent years she seems to have been pigeon holed into "crazy mom" archetype, which started with Black Swan (2010).  Hershey was great in the film.  The next stop for this "crazy mom" role was as Cora, Regina's mother on the television series Once Upon a Time.  While these are just two recent roles for the actress, and not the only character she has played, this made me think about other women around her age and the "evil" characters they were playing.

Jessica Lange is another actress who will/has fallen victim to this villainy trope.  Lange has created such beautifully layered characters in each season or newly themed part of American Horror Story.  Ryan Murphy who has created the series has given the women some great material.  The shows second season Asylum showed her as Sister Jude, but she has not gotten as much attention for that cycle as she did in the first.  Will Lange be lost in the villain roles of her career?  Quite possibly.

Glenn Close in Damages is a great example of a wonderfully layered "villain" much like the ones Lange has played, the writing in Once Upon a Time prevented this from happening with Hershey.  Patty Hewes was on of the darkest female characters on television; she lied, cheated, and had people. Close plays this character brilliantly, and all of these women have this eternal strength and power, but this power often cuts off their humanity.

On the website "Bitch Flicks" (http://www.btchflcks.com) Amanda Rodriguez writes an article about Close from Damages and Madeline Stowe who plays Victoria Grayson on Revenge.  The article is is entitled "The Ruthless Power of Patty Hewes from 'Damages' and Victoria Grayson from "Revenge.'  The article focuses on the power these two women have, but also surmises that this power given and created by them which they own comes with a price, their humanity.  Rodriguez states "Unfortunately, there is such a profound darkness and emptiness in both Patty and Victoria as well as in their lives. They have cut themselves off from human connection and have lost the ability to love the simpler things in life."  

Does this "power" and "authority" have to come from corruption, and manipulation?  Most of these roles seem to draw the conclusion that once you achieve the power you lose all sense of self, and you can't be a sympathetic women in power.  Rodriguez concludes "The implication is that the kind of power these women seek is outside the feminine realm, and to grasp it, they must reject their very nature, which leaves them a hollow shell of a person. It’s all too rare that we see a subtle, powerful woman who commands respect who hasn’t sacrificed her humanness in the bargain."  Rodriguez says at the end these are fun characters to watch, but there needs to be more balanced female roles, in both film and television. 

Let's go back to the beginning, was Hannah and Her Sisters a fluke?  Why don't more films talk about women in a more well rounded nature?  When older women are looking for roles all they seem to find these days are the Patty Hewes, the Victoria Grayson, who manipulate and lose their humanity in order to control the world around them.  Women go to the movies, they watch television, and the message they are told today is in order to gain any form of elite power you must check your humanity at the door. I too would like to see more balanced female roles, but for now Jessica Lange, Kathy Bates, Angella Bassett are on my television in the same television series nonetheless, and they would not be if these darker roles did not exist. Is that a win, lose or draw?

Blue Jasmine Proves the Power of Woody Allen still Exists, and this Darker Film (with some laughs) is One of his Best Films in Years

Blue Jasmine (4 1/2 out 5 Stars)

Directed and Written by Woody Allen (Annie Hall, Manhattan, Hannah and Her Sisters)

Starring: Cate Blanchett, Sally Hawkins, Bobby Cannavale, Andrew Dice Clay, and Alec Baldwin

Going to see a good Woody Allen film, is a cathartic experience.  Allen is one of longest, hardest working directors; he has been directing/writing for film since 1966, and prior to that he wrote for television in the 1950s and 60s.  Allen is one of those lasting directors from that time period who true to form creates a genuinely magical cinematic experience, and through his blend of the dramatic, and humorous he transports you into the minds of the neurotic. 

Jasmine is one Allen's darker films although I laughed loudest in the theatre.  The film centers around Jasmine (Blanchett), or Janette; she seems to have intentionally changed her name, from the one given to her by her adopted family.  Jasmine was whisked away by her husband Hal (Baldwin) in her junior year of college; she lives the life a socialite throwing parties for the elite, wrapped in only designer labels. Jasmine is used to the finer things in life, and has avoided her past to protect her status.

The film jumps between her time with her husband Hal, and the aftermath of Hal's Bernie Madoff ponzi schemes.  The film jumps back and forth between Jasmine's plush life in Manhattan (I love her line about being forced to live in Brooklyn) and living with her step sister Ginger (Sally Hawkins) in San Francisco in an apartment she loathes from first glance.  Ginger is searching for her own happiness, through different relationships, although the sisters had two different paths.

Allen's script is one of his best in years, although I was a huge fan of Midnight in Paris, this is stronger. Allen uses the template of Streetcar Named Desire to define Jasmine as a Blanche type who definitely depends on the kindness of strangers; she goes a little crazy without a set path, you feel as though this woman has lost, or maybe never had a grasp on reality, as she is constantly trying to avoid the past from her days of being adopted to her failed marriage.

Allen has set up Ginger and both the men in her life as "Stanleys" the working class schlub, with whom she must settle.  Both Augie (Dice Clay) and Chili (Cannavale) are these bravado macho men whose softer, less financially solvent sides are laughable to Jasmine.  Meanwhile Ginger finds love with both of these men because of their genuine nature, although there is an uncertainty if she is ever truly happy with either, especially since even after she divorces Augie and is dating Chili she goes after Al (Louis C.K.).

Together this ensemble is brilliantly woven together, and play off each other so nicely, but the stand out is clearly Blanchett, she is electric in this role, and goes off and on the rails with ease.  Watching Blanchett act is a true art forml she makes you laugh, cry, hate, scream, and feel every emotion all with one performance.  There is this vulnerability to her as she goes "a little mad" but this madness is brought together layered to be something more twisted within her, and the performance speaks volumes to making this film even more successful.

Hawkins and Dice Clay are the other stand outs.  Hawkins Ginger is weak, timid, vulnerable, but like her step sister there is something about her which allows you to see every facet to her personality.  The film never states the cause for her divorce, but you can pieces of Jasmine in her as she too is trying to continue to find a man who will give her more, and be more for her.  Who knew Andrew Dice Clay could provide such depth; he has only a few scenes in the film, but I blown away by his performance, and stark contrast he portrays to the rest of the characters, he is the most real, and you feel as though he tried to be the best man he could for his family, but got caught up in each sister's web.

In Allen's last successful film, Midnight in Paris the theme was clinging to the past, in this film its clearly about avoiding and forgetting the past at all costs.  Jasmine attempts to move past Hal with Dwight (Peter Sarsgaard) through lies, which she truly believes to be true as she tells him about herself. There are also moments when Jasmine forgets key details about her relationship with Hal; she talks about him so lovingly, but their marriage was flawed.  Jasmine has lost her grip on reality because her comfort and the life she believed she had was taken from her.  There is something beautiful in the writing about walking away from the past, or her case having a spotty memory of her past because of her psychosis, which makes this film impactful.

A Tribute to Great Film: Manhattan (1979)

Over the year's film maker Woody Allen has had love affairs with many cities, London, Rome, Paris, and of course New York City.  Woody Allen is high up on a list of directors with whom captures the every element of Manhattan.  The Wood Man has always been known for his leading ladies, from Diane Keaton to Penelope Cruz, the women in a Woody Allen film are typically the richest characters.  Yet Mr. Allen also makes the city itself, in this case Manhattan one of the characters in the film.  The opening sequence of the film is one of the most beautifully shot sequences highlighting the qualities of Manhattan, and the importance they bear to both Isaac and Woody himself.

The use of cinema scope, lighting, and shots which characterize the characters and the city create one of the most memorable film experience.  In Manhattan Woody Allen pays homage to a city he loves in parallel to the women he loves.  Throughout this film there is a beautiful blend of humor and sadness as the characters interact with one another on their search to find happiness.

The film centers on Isaac (Allen) who is dating a 17 year old girl named Tracey played exquisitely by Mariel Hemingway.  While on a double date with his good friend Yale Isaac finds out his friend has been cheating on his wife with Mary, played by Diane Keaton.  Mary is anti-Annie Hall; she is elitist, selfish, and often someone who appears to use others to her advantage.  As Yale walks away from Tracey because of her age he is drawn to Mary when she and Yale break off their fling.  The film brings out moments of hilarity as each of the characters explore their own personal baggage, and desires.  One of my favorite story lines involves Issac's ex-wife Jill, played with edge and wonderful comedic time by Meryl Streep.  Jill now a lesbian is writing a book and talks about their relationship.

One of my favorite moments in the film is Mary reading from Jill's book the following quote: 

"He was given to fits of rage, Jewish liberal paranoia, male chauvinism, self-righteous misanthropy, and nihilistic moods of despair. He had complaints about life but never any solutions. He longed to be an artist but balked at the necessary sacrifices. In his most private moments, he spoke of his fear of death, which he elevated to tragic heights when in fact it was mere narcissism." 

Issac scoffs at the similarities but this moment is one of the most real/funniest parts of the film.

Manhattan may be Woody Allen's most underrated achievement the film blends sheer optimism with some of the most heartbreaking moments.  As you watch Isaac struggle through his own personal and professional life you can relate with the concept of passion and love he longs for.  Isaac is surround by people people who have never been faithful, from Jill to Yale, but yet he is a self pro-claimed monogamous person.  In the film Isaac second guesses his own relationship with Tracey who adores him.  Throughout the whole film she pronounces her love for him, but without her present Isaac brushes this away thinking this can't be real, using her age as the reason, and the logic of the fact that she can't know love.  In the closing sequence between the two there are some of the most beautiful/heartbreaking moments, and Woody Allen stops playing himself and you see in both of their eyes a magical connection.

This is one of Woody Allen's best films, and there is a true artistic genius in the way he characterizes, the city, love, and the way the two play so well together.

Midnight in Paris proves the City of Love Still has Power

Midnight in Paris (4 out of 5 stars)

Directed  and Written by: Woody Allen (Annie Hall, Manhattan, Bullets Over Broadway)

Starring: Owen Willson, Rachel McAdams, Michael Sheen, Marion Cotillard, Kathy Bates)

What can I say about Mr. Allen's latest film, but  that this film is a beautifully crafted and witty love letter to Paris.  The opening sequence of this film is a set of images of the city Paris at different times of the day, with different types of weather.  Darius Khondji and Johanne Debas do a great capturing the the beauty of the city of love and set the stage for this tale which not only stars Owen Wilson and Rachel McAdams, but the scene stealer in this film is the city of Paris.

The film follows Gil (Owen Wilson) a successful Hollywood screen writer who wants to be a novelist.  Gil is engaged to Inez (Rachel McAdams) and is Paris with her parents and her father is closing a business deal.  Gil and inez run into a man she used to be in love with Paul (Michael Sheen) and his wife Carol played by one of the funniest newcomers Nina Arianda.  Paul is this know-it-all who tries to impress Inez and show up Gil.  As Paul, Carol, and Inez go out dancing one night this leave Gil to explore Paris at Midnight and the story goes into a dreamlike state that is amazing and beautiful.  Without giving much of the unique plot away this story is mostly about the idealization of the past, and the connection that we all have to nostalgia of the time past.

Wilson does a good job playing the role of playing the neurotic role Allen always uses for his leading man. When I see a Woody Allen film (even that does not star Woody) I know his leading male will have similar characteristics.  Wilson does a great balancing neurotic tendencies with genuine idealism and hope that he will be inspired by Paris and his experiences throughout the film with the different literary figures and Adrianna (a captivating Marion Cotillard).  Allen's writing is sharp and one his best films in years (which not be saying much), but I just was sucked into the story.

Midnight in Paris is of course a love letter to not only Paris but the historical figures that inhabited this city, and it creates a story with beauty and grace that leaves the viewer thinking about their own nostalgic experiences.