Overheard at Stanford: ‘Men destrAHOYed this nation’
Overheard at Stanford is a biweekly column written by Linden Hansen ’27. Hansen takes notable quotes she hears around campus and develops them further — whether they be insightful, astonishing or humorous! No matter what, they are guaranteed to represent the pulse of the student body.
“Menstruation. Menstruation. Menstruation. Men destrAHOYed this nation.”
— My friend Morgan. Overheard all the time.
I’ve wanted to write this piece for a little while, and I also think the world must familiarize itself with Morgan’s slam poetry. Are these movies feminist? I don’t know. They are to me. Let’s talk about it.
Ah, feminism. It is a quintessential talking point of our time. The agenda has morphed and changed and wilted and blossomed over decades now. When did it start? The dawn of time? When cavewomen fought cavemen for a flicker of light in the dark? Was it Simone de Beauvoir, bringing voice to housewives’ rage in “The Second Sex”? Or the #MeToo movement? Was that peak feminism?
And more, what does feminism mean to us in the zeitgeist of popular media? How is it expressed artistically? Cinematically? Film has proved itself as a safe haven for commentary on many socio-political movements, and feminism is no exception. Its unique capability to insert the viewer into a specific situation — or into a characters’ point of view — is unmatched by other arts. We have much to learn about women’s points of view. So, without further ado, I present to you: a rundown of must–see feminist movies.
“Thirteen” (2003), directed by Catherine Hardwicke
Not made with the typical feminist messages in mind, I know. But still, this was the first movie where I felt my girlhood identified on the screen. Giggles, dress-up, and sleepovers give the film a youthful spirit, and a hazy blue filter paints it tragically dreamlike. Two young girls (Tracy Freeland and Nikki Reed) fall madly in love with the spontaneity of life, something I too was infatuated with, growing up. But their newfound exploration manifests in the glamorized medium of self–destruction— debauchery and scandal crash down on their worlds. Amidst life in the fast lane, the consequences of the girls’ actions give heed to the delicate balance between healthy quests in delinquency and outright self-harm (through substance abuse, sex, thievery, etc.).
But ultimately, while painting a haunting portrait of a troubled girl’s coming of age, trust and community prevail in the end. The film’s feat is even more outstanding upon learning that it’s based on the director’s experiences with her stepdaughter, Nikki Reed, who also happens to be the film’s supporting actress. Even now, I’m no longer thirteen, and the movie resonates.
“20th Century Women” (2016), directed by Mike Mills
On the other hand, this one is feel-good by all measures. An eclectic cast (Annette Bening, Greta Gerwig, Elle Fanning, Lucas Jade Zumann, and Billy Crudup) fumbles around an equally eclectic estate in search of inspiration, identification, and purpose. To quote my friend’s Letterboxd review, “If you want to watch a feminist movie, watch this one, not Barbie.” She’s right. Three women, all traversing different walks of life, do their part in raising a teen boy (Lucas Jade Zumann) in his most formative years. His attentive mother (Anette Bening) is endlessly concerned. Her quirky border (a fiery, red-haired Greta Gerwig) gives vague philosophical advice. And his elusive, book–reading love interest (Elle Fanning) serves as a manic-pixie muse. What’s more— they all practically live under the same roof! It’s a one-of-a-kind experience to behold, a slice of life at its best. By the end, you’ve seen a little piece of yourself in each character. Both your faults and praises.
“Legally Blonde” (2001), directed by Robert Luketic
A phenomenon that needs no introduction, I hope. Every time I think to myself ‘Who am I? Why am I here?’ and the imposter syndrome creeps in, I stop, breathe, and remind myself: Elle Woods did it. She did it all— dropped the toxic man, claimed her education, foraged through animus, and donned a chic outfit in every scene. She shows us that attention to typical girl-ish things does not guarantee ditziness. She proves that hard work pays off, and academic or professional success is attainable for women with seemingly contrary backgrounds.
Plus, Reese Witherspoon just has to make the list. Stanford drop-out. Actress icon. Business baddie. Shameless bookworm. We know her, we love her, and she deserves to be here.
“Pride and Prejudice” (2005), directed by Joe Wright
Pride and Prejudice holds a special place in my heart. I was indoctrinated at a young age, when my parents pressed play one movie night long ago. I might be biased (I’m the oldest of four girls) but I think this is one of the all time purest portraits of sisterhood, besides the obvious Little Women pick. The Bennet sisters care deeply for one another (one could make an exception for the capricious Lydia), sacrificing suitors and wealth for the sake of their friendships. Decisions which, at the time of the books’ release, might have been considered progressive. Elizabeth Bennet is unconcerned with status— she would rather hold staunch to her integrity than submit to a glamorous man.
Furthermore, the setting is spectacular. The old English countryside captivated my senses, and my sisters and I played pretend tea-time or go-to-the-ball for years after. Still now, we rely on the film as a comfort. We cuddle up, traverse space and time, end up in the Longbourne sitting room, and pine after Mr. Darcy’s cold mystery once again. There is something to be said about emotional depth in a plain world. The English pander aimlessly around Derbyshire in search of marriage and wealth, and it feeds my need for period-piece melodrama every time.
And please, please, please read the book. “Jane Austen reads like a soap opera,” a friend once gagged. True. But, this soap opera is strikingly relevant, and modernly humorous.
“Spirited Away” (2002), directed by Hayao Miyazaki
Possibly my favorite movie of all time, so I’ll stop at nothing to plug it. Luckily, for the purpose of this piece, it features a brazen heroine. Chihiro is naïve and pampered in the opening scenes of the movie, but soon supernatural forces propel her into a hostile spirit world. Ghibli movies rarely disappoint visual appeal, but Spirited Away is next level. The viewer is quite literally whisked into a magical world where every graphic is immersive. Japanese delicacies are tangible on your tongue, bathhouse steam tingles on your skin, and Chihiro’s search through the formidable unknown— you feel it to your core. I just love the scene when Chihiro speeds by train across a vast reflective plane of water, orange clouds aglow both above and below her, as the soundtrack plays peacefully..
Themes of love and loss are seamlessly woven throughout the film, a tremendous accomplishment for a children’s movie. And because of its mature themes, the story lends itself to both youth and adult moviegoers. And, fun fact, upon a Google search just now, I learned that this movie was actually the inspiration for the Billie Eilish song, “CHIHIRO.”
With that, thank you to the cinema for representing us. I hope these recommendations prove fruitful, and teach a little something about women’s stories. Happy viewing…
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