2023-12-01 14:58:51
The image of women in “Love Actually”? In a word: problematic. By the way, the image of men too. The supposedly romantic Christmas film is full of toxic gender roles.
Karen (Emma Thompson), the cheated wife, is the big hit in “Love Actually”. She makes a lobster costume for her daughter. She buys Christmas presents for her mother and mother-in-law. She keeps the family together, even when her brother, the Prime Minister (Hugh Grant), simply hangs up on them. And usually even has a smile on her face. But even the most lifelike figure in the ensemble gathered here represents a problematic image of gender roles. A few days after his wife’s funeral, she advises her platonic friend Daniel (Liam Neeson): “Washcloths are not popular. If you cry endlessly, no woman will go to bed with you.” Isn’t he allowed to mourn and show his feelings? Why does he have to appear sexually potent so soon after his death?
An example of toxic masculinity. Instead of dealing with your emotions, you first try to suppress them. The Prime Minister has his housekeeper Natalie (Martine McCutcheon) transferred and only realizes late that he wants her close. Best man Mark (Andrew Lincoln)’s feelings are exposed, but he tries to regain control by confessing his love for Juliet (Keira Knightley) but leaving her little room – or time – to react. There is no discussion, just a goodbye kiss.
Surprisingly, it is mainly the women who kiss the men in the film. This may have something to do with the fear of rejection, which would hurt these male characters more than the women. The loser Colin (Kris Marshall), who has failed because of the British, even emigrates because of this – and meets three beautiful young sex objects in a bar in Wisconsin. Overall, the types of women can be classified fairly precisely along the dichotomy of whore and saint, with the latter coming in two forms. The sexually aggressive Mia (Heike Makatsch) is clearly relatable. She never misses an opportunity to convey to her boss Harry (Alan Rickman) that she is willing. There is no sex scene with her, but you can see her stripping down to her red lace underwear. Typical of the male gaze in the cinema (camera: Michael Coulter), which also likes to chop up women’s bodies into curves using close-ups.
The saints include the motherly women, Karen of course, and also Sarah (Laura Lynney), who even stoically endures it when her mentally ill brother tries to hit her. Incidentally, the two of them are the only ones who are not granted a happy ending with happiness at the end. Natalie also seems self-sacrificing, but is the “ideal woman” type. Ideal because hardly anything is known about them. Juliet as well, and Aurelia (Lúcia Moniz): the Portuguese housekeeper cannot communicate verbally with the writer Jamie (Colin Firth), who is staying in the holiday home in the south of France. He becomes aware of her when she throws herself into a cold pond in her underwear and her hair inexplicably freed from her ponytail. A man in a position of power, a woman who serves him: one of many hierarchical relationships in this film.
Body shaming. “Victim blaming” can also be observed. For example, when Harry gives Mia the tip for the Christmas party: “Advise your colleagues to avoid Kevin if they don’t want their breasts groped.” Why doesn’t he talk to his employee? Bodies are constantly being commented on. Rock star Billy Mack (Bill Nighy) is obsessed with his manager Joe’s (Gregor Fisher) body and never misses an opportunity to call him fat.
Natalie’s body shaming is striking. Actress McCutcheon is not size zero, but is of normal weight. This is problematized in the film. Natalie’s ex-boyfriend compared her thighs to tree trunks (in German: elephant legs). A colleague describes her as: “pretty huge bottom and huge thighs”. “God you’re heavy,” the prime minister says as he lifts her. And is that supposed to be romantic?
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#Thighs #tree #trunks #feminist #reckoning #with..