science ficiton

April 2016 Roundup

I’ve had a busy week, but better late than never! Here’s a summary of fat characters in films I saw over the past month but didn’t write about.

The Lady Eve (1941, dir. Preston Sturges)

Classic screwball romantic comedy in which con artist Jean (Barbara Stanwyck) tries to swindle wealthy nerd Charles (Henry Fonda) and loses her heart in the process. Two father figures in the movie are fat men: the Colonel (Charles Coburn), Jean’s partner in crime who pretends to be her father, is debonair yet heartless; Horace (Eugene Palette), Charles’ tycoon father, is a blustering blue-collar type who made a fortune by brewing the Ale that Won for Yale.

Midnight Special (2016, dir. Jeff Nichols)

In this moody sci-fi drama about a Kid with Powers, there’s a small role of a child psychologist (Dana Gourrier) who is a competent, serious professional who does her job in an intense, high-security military setting and just happens to be fat. And that’s it. Which is fine by me.

Faces (1968, dir. John Cassavetes)

Dang, this is a good movie. A cinema verite look at a crumbling marriage over the course of a night, as Richard (John Marley) spends the night with Jeannie (Gena Rowlands) a sex worker he frequently patronizes, while his wife Maria (Lynn Carlin) picks up Chet (Seymour Cassel) a playboy she and her friends meet at a club. Although all the characters in the film are portrayed as lonely people desperate for some way to remedy the emptiness of their lives, a few fat minor characters come across as particularly pathetic. Maria’s friend Florence (Dorothy Gulliver) practically begs Chet to pay attention to her, while two of Jeannie’s other clients (Fred Draper and Val Avery) become angry to the point of aggression when threatened by Richard’s presence in Jeannie’s home.

Ma Vie en Rose (1997, dir. Alain Berliner)

This is a sweet film about Ludo (Georges du Fresne), a transgender 7 year old who wants to be accepted as a girl. Unsurprisingly, this is easier said than done, as her family and community react to her love of dresses and dolls with confusion and disapproval. The repercussions of transphobia on her family as a whole largely come from Albert (Daniel Hanssens), a fat man who is Ludo’s father’s boss. He is rather conservative, and is scandalized when Ludo holds a play-wedding wherein she “marries” his son Jerome (Julien Riviere), putting her father’s job in jeopardy.

Roundup: March 2016

A summary of fat characters in films I saw over the last month but didn’t write about.

Take This Waltz (2011, dir. Sarah Polley)

This romantic drama follows Margot (Michelle Williams), a writer who finds herself torn between her loving, stable marriage to chef Lou (Seth Rogen) and her prickly, burgeoning crush on their rickshaw-driving artist neighbor, Daniel (Luke Kirby). I was hesitant to include this because Rogen is thinner in this film than most of his work (he made this film around the same time as Green Hornet), but I decided to go with it as the film juxtaposes him with Daniel, who is very athletic (literally spending his days running around Toronto).

waltz_5

Orgazmo (1997, dir. Trey Parker)

A self-consciously B comedy that is a sendup of low-budget action films, the porn industry, and (of course) Mormons, Orgazmo pits kung fu fighting Latter Day Saint Joe (Parker) against evil porn producer Maxxx Orbison (Michael Dean Jacobs). Maxxx is fat, as are some of his cronies/actors Jizzmaster Zero (Ron Jeremy) and his dimwitted bodyguard whose name I didn’t write down (mea culpa, unsung hero). But another notable scene pairs Joe with a fat porn actress called T-Rex (Ruby Hart, credited on IMDB as “The Fat Lady Stripper”), and touches on a number of tropes: the ground shakes when T-Rex approaches, she is masculinized (her lines are dubbed with Parker doing a voiceover), she is crass and sexually voracious, Joe is terrified of her, and the onlookers are disgusted, with the exception of weirdo Dave the Lighting Guy (Matt Stone). The scene can be found here (NSFW; typical Parker/Stone humor).

The Ladykillers (2004, dir. Joel and Ethan Coen)

A remake of a 1955 heist film that pits a group of thieves against an elderly Christian woman (Irma P. Hall) who unknowingly rents a room in her house to their grandiloquent ringleader (Tom Hanks). In true Coen fashion, the film is peppered with idiosyncratic fat characters: a sweaty, easily-bribed boss (Stephen Root); a security guard who is constantly laughing and surrounded by food wrappers (Walter K. Jordan); a deputy sheriff who frequently naps at his desk (John McConnell).

The Incredibles (2004, dir. Brad Bird)

One of Pixar’s best, in a world… where superheroes are forced into hiding as normal people, Mr. Incredible (Craig T. Nelson) struggles to ignore his and his family’s special abilities. Having to live as insurance agent Bob Parr, he gains weight and is referred to as fat at least a few times, but is still able to fight well enough to defeat a massive killbot single-handed. Once he has the opportunity to put his super-strength to use again, an exercise montage helps him get back his trimmer physique.

Meet the Fokkens/Ouwehoeren (2012, dir. Rob Schröder, Gabriëlle Provaas)

I usually don’t include fat people in documentaries that I see; in most cases, a subject being fat is happenstance. That is the case here– a profile of Louise and Martine Fokken, Dutch twin sisters who were sex workers in Amsterdam’s red light district for over 50 years, and just happen to be fat (although photos show that they were slimmer in their youth). Although fatness isn’t explicitly discussed, they are contrasted with their slimmer, younger colleagues and laughed at by some passerby. The idea of older, fatter women being sexually active, as well as objects of desire, is unthinkable to many people; making it the subject of a full-length documentary is a necessary subversion of assumptions about who sex workers are.

fokkens

Roundup: December 2015

Happy New Year! This past month was largely focused on catching up with 2015 releases for my end of year list. (Minus the first week of January grace period I’m affording myself on account of not having the time for and access to 2015 releases that a full-time professional film writer would, you’ll just have to wait a month for those.)

Mistress America (2015, dir. Noah Baumbach)

Tracy (Lola Kirke), a college freshman and aspiring writer who is new to NYC, attempts to navigate her new surroundings by reaching out to her hipster-by-Auntie-Mame stepsister-to-be, Brooke (Greta Gerwig). One of the funniest films I’ve seen this year, due to the clever script and just-madcap-enough characters who bounce off each other delightfully. Not least among these is Brooke’s former fiancee Dylan (Michael Chernus), a fat guy who lives in the affluent suburbs of southwest Connecticut and almost matches Brooke in terms of grandiloquence and fear of adulthood.

People, Places, Things (2015, James C. Strouse)

An indie dramedy that is pretty unremarkable, with the exception of Jermaine Clement’s performance. Following the breakup between Will (Clement) and Charlie (Stephanie Allynne) that begins with Will walking in on Charlie having sex with Gary (apparent supporting role powerhouse Michael Chernus). Part of Will’s inability to move on over the course of the film deals with resentment towards Gary. Despite both men being nerdy hipster Brooklynites, larger Gary is portrayed as the more milquetoast of the two. Will is a graphic novelist, an art form that is characterized as under-appreciated and misunderstood, while Gary is a monologist, whose artistic pursuit exists in the film as material for insults. Another fat character is an unnamed student in Will’s graphic novel class, who does a piece for class about how he learned to masturbate. His work is used as a punchline– how inappropriate! like the rest of Will’s class, save Kat (Jessica Williams), this kid doesn’t get it!– but the joke comes across as misinformed. It doesn’t take much scratching of the surface of establish underground comics to find confrontationally personal autobiographical accounts.

Michael Chernus and Stephanie Allynne hide their shame in People, Places, Things.

Spotlight (2015, dir. Tom McCarthy)

It’s more likely to see fat characters in films that strive for realism, like Spotlight. However, as Spotlight has a large cast, fast-paced, complex plot, and required quite a bit of emotional processing as someone who was raised Catholic, I’m sure that I wouldn’t be able to remember everyone. Certainly none of the main characters are fat. There are fat characters, but the only one who comes to mind at this point is a reporter from a rival newspaper with whom Michael Rezendes (Mark Ruffalo) trades snarky comments during his trip to Springfield.

Star Wars: the Force Awakens (2015, JJ Abrams)

Larger bodied characters tend to be aliens in small roles who are sketchy/dangerous or whose bodies are part of the exotic, otherworldly scenery, such as the hulking junk trader on Jakku (Simon Pegg) to whom Rey sells her scavenged findings, or wide, intimidating-looking aliens in Maz Kanata’s (Lupita N’yongo) hideout. In addition to them, however, there is a rather dashing X-Wing pilot for the Resistance:

Oscar Isaac as Poe Dameron in Star Wars: the Force Awakens.

No, not him, the other dashing X-Wing pilot:

Portraying X-Wing pilot Snap Wexley, JJ Abrams’ lifelong friend and hunk Greg Grunberg.

Yeeaaahhhhh.

Attack the Block (2011, dir. Joe Cornish)

Sci-fi/action/comedy about a group of inner-city London youth who fight monstrous invading aliens. It’s a really smart depiction of a disaster where the only people who are working to contain the problem are the people who nobody trusts or listens to. Frequently compared to Edgar Wright’s work, it unfortunately never manages to hit the humor or emotional notes that Wright can. Case in point: Nick Frost’s role as Ron, a weed dealer. Where the Cornetto Trilogy has Frost in dynamic, funny, endearing roles, Ron isn’t given much of anything to do in Attack the Block. Shame.

Buzzard (2015, dir. Joel Potrykus)

Grungy, uncomfortable (in a good way) indie comedy about Marty (Josh Burges), a slacker who lives to game the system. One of his cons includes “returning” stolen office supplies to a retail store for cash, which he is able to do through the grace of a fat cashier (Michael Cunningham) who takes a lax approach to store policy.

Experimenter (2015, dir. Michael Almeyreda)

A fourth-wall demolishing, imagined memoir of the work of experimental psychologist Stanley Milgram (Peter Sarsgaard, in my favorite leading man performance of 2015), starting with and always coming back to his controversial 1961 experiment on subjects’ willingness to administer increasingly severe electric shocks to another person. Jim Gaffigan, whose standup includes bits on being fat, plays James McDonough, a man Milgram hired to be the “victim” of the experiment’s situation, pretending to receive the administered shocks and begging for the experiment to stop. When not acting as a man in distress, McDonough is an affable goof. 65% of the experiment subjects complied with all orders to shock McDonough, despite hearing him say that he had a heart condition and even after he became unresponsive. Most of the depictions of subject experiments show these compliant people, but two depictions are of subjects who refused to comply, including a fat man who tells the researcher saying he has no choice: “In Russia, maybe, but this is America!”

Experimenter: No comedians were harmed in the making of this film.

The Blind (Drunk) Leading the Blind (Drunk): Shaun of the Dead; Hot Fuzz; The World’s End (2004, 2007, 2013; dir. Edgar Wright)

My article The Blind (Drunk) Leading the Blind (Drunk): Masculinities and Friendship in Edgar Wright’s Three Flavours Cornetto Trilogy is up on BitchFlicks as part of their theme week on masculinity. The Cornetto Trilogy are three of my favorite films, and Andy Knightley (Nick Frost) in The World’s End is one of my favorite fat characters, a topic I hope to explore more in depth on here in the future. I had a lot of fun writing it. Please check it out, as well as the other articles about masculinities in film and television.

Portraying Strong Female Characters, Except When It Doesn’t: Mad Max: Fury Road (2015, dir. George Miller)

(Just a reminder, all CPBS articles potentially contain spoilers.)

This afternoon, I had the pleasure of engaging in BitchFlicks‘ weekly Twitter discussion, the topic of which was Mad Max: Fury Road. Fury Road is a decent action film that makes up in style what it lacks in story and character detail, but it’s getting a lot of attention as a potentially feminist action film. I tend towards skepticism when regarding mainstream media attempts at true progressivism, as I’m more likely to dwell on the problematic stuff that remains a constant. A lot of the contributors to this afternoon’s discussion were more optimistic in their view of the film, which led me to concede that I was overlooking the positive aspects of Fury Road. It’s amazing to see a big budget action film that features women defending themselves, standing up to the bad guy, striking out into the unknown, and doing it all because they know they can rely on each other. Despite being the titular character, Max (Tom Hardy) plays more of a supporting role to Imperator Furiosa (Charlize Theron). Over the course of their adventure, the two learn to trust each other and work together without resorting to a compulsory romance. Furiosa’s goal is to liberate the Wives, five women who are sex slaves to Immortan Joe (Hugh Kyes-Byrne), a tyrant who controls a large source of water, and return with them to her matriarchal homeland, the Green Place.

However, Fury Road is a mixed bag with regards to body diversity. Furiosa is an amputee, which is pretty huge, considering she’s the protagonist. However, there are other people in the film whose disabilities aren’t quite as cool (Furiosa gets a neat-looking robotic arm), and seem to be present as props to convey how harsh life is in this desert setting. Fat people are present in the film, but don’t fare very well. When Joe is introduced, we see him in a room full of fat naked women whose lactating breasts are being pumped by machines. These women are presumably his wives as well, or at least other women whose bodies are being exploited by him alongside the Wives. Physical exploitation is a recurring presence in Fury Road. Max is initially captured and held by Joe’s war boys so that his blood can be harvested. The Wives are being exploited by Joe for sexual and reproductive purposes; they graffiti the walls of their rooms for Joe to find when he discovers they have escaped, bearing messages that they are not objects, and refuse to give birth to future warlords. However, Max and the Wives escape from and confront their oppressors, while the nameless, voiceless fat women have no agency in this way. The fat women’s bodies are in sharp contrast to those of the Wives– all five actresses playing the Wives have careers as models, and they are clothed in gauzy, pure white fabric. The fat women do re-appear at the end of the film after Joe’s reign of terror has been overcome, giving the thirsty masses full access to Joe’s water reserves. Although they participate in the liberation of the Citadel, that role reflected their earlier state captivity a little too closely for me to feel that there was true redemption. They seemed to be stuck in an affliation with nourishing and abundance which made me uncomfortable, given the unsettling imagery of their captivity.

Another problematic fat figure is Joe’s ally, the People Eater (John Howard). Although not given much in the way of characterization beyond being a Mini Boss, the People Eater’s fatness is linked to a sense of sadomasochistic hedonism, which are intended to inspire disgust in the audience. The People Eater’s shirt has holes cut in it so that his nipples stick out; he wears clamps and chains on them that he has a habit of playing with. He also has a metal grating covering his nose, which I interpreted as suggesting syphilis, which can cause the flesh of the nose to rot in advanced stages. In the days before medical interventions, the decayed nose was a stigmatic mark of immorality. Apparently, everything old is new again. He also has exaggeratedly fat feet which eventually lead to his undoing, as Max forces his foot onto the gas pedal that leads him to crash.

There’s a lot about Fury Road that is refreshing in terms of representation, but the fat bodies present in the film get burdened with some tired tropes that detracted from my enjoyment of it. One of the main ideas that the film presents is that bodies aren’t objects; unfortunately, that message doesn’t extend in practice too far beyond the normatively attractive characters.

The Power of Fatness: Big Hero 6 (2014, dir. Don Hall, Chris Williams)

We have a fat superhero! (Kind of!)

I just came back from seeing Big Hero 6, Disney’s latest offering loosely based on a Marvel series of the same name. Taking place in the San Fransokyo megalopolis and featuring technology not far off from Popular Science concept art, the story follows young technology whiz Hiro Hamada (Ryan Potter) in his quest to avenge his brother Tadashi’s (Daniel Henney) death with the help of Baymax (Scott Adsit), a “healthcare companion” robot invented by his late brother. In contrast with the rest of the world’s technology, which is sleek, fast, and colorful, Baymax is fat and white– his inflatable vinyl body was designed by Tadashi specifically to be huggable and comforting– and moves at a gentle, deliberate pace.

Big Hero 6‘s story and themes hit familiar beats for a family-focused animation, but one thing that impressed me about the film was how it deals with grief. It’s certainly common for a Disney/Pixar/Dreamworks/etc. protagonist to have lost a family member or significant other, but Big Hero 6 deals with the grieving process more explicitly and realistically than most I’ve seen. The emotional process is comparable to my favorite Disney film, Lilo and Stitch: Lilo and her older sister Nani are struggling to reach a new normal after the loss of their parents, which is catalyzed with the arrival of Stitch in their lives (who is, coincidentally, also an adorable sci-fi creation). Where a lot of the grief and healing in Lilo and Stitch is refocused on the process of Stitch being taught empathy and accepted as part of the family, Big Hero 6 focuses explicitly on Hiro’s bereavement process, which is largely verbalized by Baymax. Since his prime directive is to heal people, Baymax makes decisions based on wanting to help Hiro recover from the loss of Tadashi, and scans Hiro’s brain activity to determine his mood. Baymax wants to heal Hiro by connecting him with social supports, namely Tadashi’s colleagues. Hiro, however, is convinced that finding and exacting revenge on the person responsible for Tadashi’s death will make him feel better, and enlists Baymax and his friends to join him in a hi-tech superhero team for this purpose. Hiro, who heretofore has channeled his genius into building battle bots, creates a warrior exoskeleton for Baymax. Baymax’s fat body, built with emotional support in mind, is hidden under an athletic body designed for conflict:

Baymax’s body, his true self hidden under the armor and intent that Hiro creates for him, is an anomaly among fat film characters. Baymax is fat for a reason. I don’t mean that he was drawn fat as shorthand for a characteristic such as hedonism or sloth. As previously mentioned, his creator specifically designed Baymax to be cuddly as part of his role as a healer, but he also saves Hiro’s life by cushioning his fall. Later in the film, Baymax saves the entire team by acting as a flotation device, abandoning his heavy battle armor to do so. Bear in mind, this film highlights how bodies and their augmentations act as instruments to achieve goals; even ingenuity, one of the main values that the protagonists must embody to win the day, is referred to as “using [one’s] big brain.” And in this context, a fat body is shown as having unique and valuable attributes to contribute.

That’s huge. (Pun partially intended.) However, Baymax is– with the exception of a minor antagonist at the beginning of the film– the only fat character in the movie. His fat body is manufactured, and given an unrealistic dimension by being inflatable. Baymax’s body is outside of factors that fat human bodies are judged by, such as perceived health and measurement against normative standards of attractiveness. An inflatable robot is a much safer choice for a fat hero than a fat human, but having a film where a fat character’s body is validated is a significant paradigm shift, even if that shift requires futuristic technology to happen.

Consistent Panda Bear Shape

Fat People in Cinema