So, Why the War on Women?
I find it is incumbent upon me to ask all of these ladies, women and drama queens out there, “How much more would you like?” Please don’t answer that one just yet. I have just a bit more to whittle away on before we get into the great debate. Is that all right with you MS Portman? MS Streep? And according to yesterdays article how about you Senator Kirsten Gillibrand?
Call me old-fashioned, but I am the kind of bloke that stays around for the titles at the movies. Never know what you might miss. This is also the portion of a lot of films and television shows where the outtakes are normally hidden in pleasant surprise as well as a portion of a film that wasn’t revealed during the regular show time.
I won’t soon forget or forgive one of my all-time female actors, producers, directors, and heck, throw in script supervisor too for the great Elizabeth Banks of Pitch Perfect 2. The inhumane, “I did this, and I did that, and of course, I did this and that,” really kind of did me in for her quest of humility. But, then again, she wasn’t the first. For decades, women have been directing in genres ranging from comedy (Martha Coolidge’s Real Genius, Penelope Spheeris’ Wayne’s World, Penny Marshall’s Big) and horror (Mary Lambert’s Pet Sematary) to animation (Vicky Jenson’s Shrek) and sports (Gurinder Chadha’s Bend It Like Beckham). Female directors have even made their mark in the “major box office” revenues around the world – better and well-known such as London, Paris, Sydney, and just about everywhere.
Yet still, these ladies are very much household names such as Sofia Coppola, with her Lost in Translation, several other huge directors namely, Susanne Bier received an Oscar nomination for best foreign-language film for After the Wedding and let’s not forget in 2007 she directed her first English-language film, the Halle Berry-starring Things We Lost in the Fire. In addition to her biopic about Andy Warhol’s would-be assassin Valerie Solanas, the Canadian filmmaker also adapted Bret Easton Ellis’ American Psycho.
I have wanted to go on outrageously of course with Kathryn Bigelow, and her masterpiece, The Hurt Locker, or so soon to even tell her renowned box-office extravaganza, Zero Dark Thirty. It is important for me to make mention that both Jeremy Renner and Jessica Chastain both nominated for Academy Awards for best in their field.
From this point I will just put forth the names, Gillian Armstrong, Catherine Hardwicke, Amy Heckerling, and of course, Nora Ephron, yet what list could even be considered without, Betty Thomas. And I must give a hat tip to these following ladies who have been at the art of direction for well over thirty years, prominent women directors of the past 30 years not listed above (because many or all of their movies do not have Metascores) include Allison Anders (Gas, Food, Lodging), Antonia Bird (Priest), Martha Coolidge (Valley Girl), Marleen Gorris (Antonia’s Line), Randa Haines (Children of a Lesser God), Beeban Kidron (To Wong Foo Thanks for Everything, Julie Newmar), Mary Lambert (Pet Sematary), Sally Potter (Orlando), Susan Seidelman (Desperately Seeking Susan), and Barbra Streisand (Prince of Tides).
This list continues on and without an attempt to cave-in. However, what makes me irate to the point of anger is that we have the likes of Portman, Streep, as well as others who must do a #MeToo hoopla dance with the four male director nominees bull-squat. By the way (Btw), has MS Natalie Portman done anything that would even warrant a nomination? I do believe that she and MS Streep are quality actors. Let’s keep our mouth’s in check, what do you say?