RE: Fighting like a girl

To follow up on my continuing series of posts on girls and the fascist patriarchy contemporary pop culture, I'd like to mention a little film called Kick-Ass, which not long ago was the subject of intense debate for film aficionados and feminists alike. The problem? The film stars 10-year-old Hit Girl, who mercilessly stabs, kicks, shoots, and disembowels bad guys in the name of justice, and utters a stream of colorful Tarantino-esque language while doing so.

Personally, I didn't actually find this all that problematic -- though I should mention that I'm not a very strong believer in the ethical duties of art (I'm also a hypocrite.). Furthermore, The Professional (very different movie, very different genre, but drawing on a similar concept and drawing in similar outrage) is one of my favorite movies of all time, precisely because it pulls back the soft, frilly curtains of girlhood and exposes the wrathful steel rod at the center of anyone who has ever felt small, weak, and defenseless. Of course, where The Professional was more or less anchored in a realistic portrayal of the damage done by a vicious cycle of vengeance and violence, Kick-Ass goes the way of gratuitous wish-fulfillment, allowing the small, weak individual the chance to actually fight back. What both features have to offer, I would argue, is, first of all, a revealing look at the nuanced and often contradictory patriarchal relationship (the young female protagonists of both films are enthralled with the "stronger" male, not the "weaker" female side of the father-daughter equation -- precisely the side that is unequivocally glorified as the hero in any major Hollywood production). And, second, both films present a counter-narrative not just to the popular misconception of young girls as delicate little princesses, but also to the other popular portrayal of young girls in Hollywood, the demonic dead-eyed Scary Child. While both Natalie Portman and Chloe Moretz are involved in some pretty monstrous activities, neither of them is herself a monster whose demise we cheer, precisely because these are, at heart, deeply recognizable, deeply sympathetic human archetypes.

What was interesting to me in the critical fracas about the film was the way that the pro-Kick-Ass camps were split: on one side, those who loved it and found within it an empowering feminist message, and those who were okay with the (stylized) murder and mayhem but objected mainly to the word cunt coming out of the mouth of a 10-year-old. What everyone seemed to agree on, though, is how cannily the director managed not to sexualize Hit Girl... because, presumably, that would take away from the whole feminist empowerment thing. While I'm certainly no fan of the rote approach Hollywood takes when presenting a woman onscreen (hot, skinny, white), something about this abhorrence of sexuality made me do a double take. It seems that while we've crossed some boundaries in our ability to imagine a fictional reality in which a pre-teen girl can take down a roomful of aggressive armed thugs, we obviously feel differently if that girl were, say, posing as an underage prostitute to do the same thing. That movie simply could not be made in any of today's major film studios, because... a 10-year-old seeing a penis is so much worse than a 10-year-old seeing the decapitation of a drug dealer?

The visceral cultural ick-factor was also in play during the release of The Professional, which had to be split into an American version expunged of all suggestive content, and a European version called Leon, featuring a controversial and highly suggestive scene in which Natalie Portman discusses her blooming love/lust for the titular foreign hit-man. Again, I didn't really see the problem -- the scene added meat to the exploration of the dark side of patriarchal relations, problematizing the squeaky-clean father-figure role and adding a nice Aristotelian edge to the drama. But, again, to reiterate the most boring and overused criticism of Hollywood -- violence is okay, sex is not. And the younger the protagonists of films get, the more that formula seems to hold true, with no real critical self-reflection. To quote the director of Kick-Ass: "She wasn't sexualized, it wasn't gratuitous, it was fun and she comes off as a great, fully realized female heroine." Hmm. "Fully-realized" indeed.

Gender troubles

While I was out riding the other day (for the past week, everything in my life has been structured around motorcycles), I remembered I needed to pick up some deodorant. On a gas break, I stepped into the gas station convenience store and quickly scanned the aisles for something other than livid polythene bags of processed carbohydrates. I found a small shelf of personal medical and hygiene products and spent another few seconds searching for deodorant, which I finally located in two varieties: Arrid^(tm) For Men and something called Ladies Choice^(tm) Invisible Solid. Hesitating slightly, I settled on the cloying pink Ladies Choice and headed to the check-out. An elderly black man with bloodshot eyes and a blank expression swooped in front of me and placed a 40 of Olde English on the counter, then asked the salesgirl for two packs of Kools and a lighter. When she swiped the age-restricted items, the scanner emitted a startled "uh oh!" in a prudish robotic voice. Somewhat bashfully, I stepped up to the counter with my pink tube of deodorant, wishing I'd gone with the Arrid. Equally impassive to purchases of ridiculously named deodorant as she was to purchases of malt liquor at 10 in the morning, the salesgirl scanned my item. The prudish robot remained silent.

Stepping back out into the blaring Texas heat, I popped the frosted cap off the top of the deodorant and gave it a skeptical sniff. It looked and smelled exactly like a giant Elmer's glue stick. Whatever a lady is, I decided, she would probably not choose to slather this stuff on her pits.

Later that day, while my husband and his brothers sat shirtless on the living room couch and played endless rounds of Call of Duty, I retreated to the home gym for some cardio and push-ups. Every now and then, I'd catch a pungent whiff of the floral-cum-paste smell of Ladies Choice emanating from my body. As a distraction, I turned on the TV: Pitch Black, probably my favorite Vin Diesel vehicle, was playing, and as I did sets of push-ups, I thought about how great the character of Jack is in this screenplay -- a (spoiler!!) budding adolescent girl who pretends to be a boy, and who spends the entire movie idolizing and emulating Vin Diesel's space-age killer cowboy persona. What really struck me was how differently this was interpreted in the higher-budget, higher-grossing sequel, Chronicles of Riddick. There, Jack grows up, grows her buzz cut out into an appropriately luscious mane, and transforms into the sexy spitfire sociopath love interest -- the sci-fi version of the Manic Pixie Dream Girl. Unlike the relatively nuanced discussion of sexuality and gender generated by Pitch Black, the sequel is the Ladies Choice of Hollywood's take on women: commodification masquerading as self-assertion. Ladies, you can choose your choice! You can be strong... and sexy! Smart... and sexy! A sociopath... and.... whatever, as long as you bring in that 15-25 market with cleavage and tight leather pants!

I was so caught up in my seething feminist outrage that I barely noticed my arms turning to jelly from the frenzied pace of my workout. I got up and examined my biceps, which, even after years of regular weights, push-ups, and yoga, were no match for the slovenliest male couch-potato. Is that why I identify so strongly with Jack?, I wondered. Am I just a scared little girl at heart, playing dress-up and acting tough to gain the respect of some distanced, abstracted, quasi-paternal figure -- who's actually just waiting for me to get over this awkward tomboy phase and act like a sexy lady?

Pitch Black ended and 27 Dresses, the Katherine Heigl rom-com about a perpetual bridesmaid, came on. I watched -- sweaty, breathless, half-dazed -- as Heigl paraded across the screen in the titular 27 hideous bridesmaid's dresses, none of which she had actually chosen for herself, but all of which she inexplicably loved too much to throw away. I mashed the power button on the remote, leaving a greasy slick of sweat on the molded plastic. Next time, I'm getting the Arrid and the 40, goddamn it.

Potentialities

In the interim between moving out of Boston and moving into Berkeley, Ryan and I are spending a week at his parents' rural Texas lakehouse, which to me is pretty much the best way ever to ease into a terrifying and potentially demoralizing transition from academia into The Real World. Ryan's parents have the infinite patience and bottomless pantry of a well-regulated military machine and/or a big family, with a refreshing lack of that obsessive, passive-aggressive neediness that passes for love in most Slavic families I know. Plus, they drink every night, go on impromptu motorcycle or camping trips around the country, and still manage to run two highly profitable small businesses, making them the model of adult success in my eyes.

Yesterday, we found out midday that a friend of ours was coming to visit. Ryan's mom dutifully bought sackfuls of burger fixins at Wal-Mart and made up the spare bedroom, just in case. Robbie, the friend, was one of the dudes who'd made up our Tokyo spring break group four years ago, and he'd loved it so much that he went back to teach English there for two years. Last we'd heard from this kid, he'd found himself a pretty, older Japanese lady, brought her back to the States, and gotten hitched. Given the delicate nature of such matters, Ryan thought it imprudent to ask whether he'd be bringing his wife on this visit. I was out on the deck reading when he arrived, and when I walked into the house, the first thing I saw was a tanned, smiling Japanese girl wearing a flowy floral sundress over an enormously pregnant belly. Robbie grinned goodnaturedly and didn't say anything, as if he were just as surprised by the whole thing as we were. "Hiromi," the girl introduced herself, giving me a barely material handshake and fixing me with her beautiful almond-shaped eyes. She didn't look a day over twenty.

As we all stood there awkwardly, trying to find something to say that wasn't immediately obvious, Hiromi spotted the lake beyond the sliding glass doors in the living room, and she headed straight for the deck. "Will we go swimming, Robbie?" she asked gently, her voice radiating the pure joy that also lit up her face. We changed into bathing suits, and I tried not to ogle the arresting spectacle of Hiromi in a black string bikini and a floppy denim sun hat. Before she got into the water, she did a quick round of calisthenics, stretching her thin limbs and torso and showcasing a strange juxtaposition of prominent ribcage and plump, perfectly gourd-like stomach. Ryan's brother offered her some foam pool noodles, which she eagerly accepted. "These are great! We don't have these in Japan. We have some things like this for kids..." she trailed off and bobbed happily in the warm Texas lake water.

Robbie made for the small square dock a couple dozen breast-strokes from shore. For a gangly, nerdy white boy, he was impressively skilled at small-scale water acrobatics. Last summer, I'd watched him do sets of front and back flips off that dock, so I was expecting another show this time around, especially since he now had a wife to impress. But after his first modest flip off the edge, which dappled Hiromi's sun hat with dark blue wet spots, she protested. "Roooobbie..." she cooed, never changing her honeyed tone or losing the glint of joy from her eyes, "I've already seen you do this." With the same bashful grin on his face, Robbie swam obediently back to Hiromi and, instead, began blowing into one end of the hollow foam noodles to make water jet out of the other end. Hiromi observed this activity with a mixture of maternal love and childlike amusement. "Like a whale!" she said, and, try as I might, I couldn't detect any hint of patronizing in her voice. I watched the two of them float together, exchanging quiet words in a mixture of English and Japanese, and I marveled at the strangeness of a world that could bring these two people together and put them in a lake in Texas. Then again, when I thought about it, it was no stranger than a world that could bring a girl from rural Ukraine and an all-American boy from Texas together and deposit them in that same lake. And who knows how strange and serendipitous things will get for Hiromi's unborn daughter, or for Ryan and my as-yet only hypothetically conceived kids. But it's nice to think about, and -- as seems to be the theme of this interim time in Texas -- a good way to put things into perspective.