Mad Max and the Damsels Who Do Things

I saw Mad Max a couple nights ago, and I got at least two blogs worth of thoughts out of it. My overall impression of this movie was that it not perfect, but I enjoyed it and if you’re in the mood for a lot of good action scenes you will probably love it.

(major spoilers avoided, but beginning and subplot spoilers ahead)

One thing that stood out to me was how many of the characters, specifically the protagonists, were women. In fact all but two of the good guys were female. Charlize Theron was absolutely terrific as Imperator Furiosa, a badass hero who really wasn’t written as a Female Action Hero TM, but just a complete all around boss who happened to be female. Eventually she is joined by other characters who are fabulous and heroic and happened to be women. Then there were five damsels in distress, whose escape early on kickstarted the plot.

The trope of damsels in distress is a sticky one. The damsel exists to be victimized, but then her victimization is not explored from her perspective. Instead, it is in the story to set up an end trophy for the hero, with the implications of a traumatized wife never explored, nor the question of whether his possession of her constitutes salvation or just a different kind of prison. Played straight, it can’t avoid being incredibly sexist. However, Mad Max subverts the damsel trope in ways that are both obvious and subtle.

The most obvious subversion I have already mentioned. The damsels do not sit around waiting to be rescued at the end of the movie. They start the plot themselves by breaking free together. I’ve seen other examples of this, but in this film it felt particularly appropriate because of what they were escaping from.

The damsel in distress trope is highly objectifying. It effectively turns a human being into a living MacGuffin*. The villain of the movie, Immortan Joe, is also highly objectifying. The beginning scenes set his world up as one where humans are regularly treated and used as machines, as cannon fodder, as cattle, even as living blood bags. The girls are his breeder concubines, and when they leave they write on the walls, over and over again, that they are not things.

In too many movies, this promising start would end there. The hero would enter the film and it would once again center all around him. The girls would not emerge as real characters. However, this does not happen.

To begin with, they do have individual personalities, and small subplots to themselves. The SplendidĀ  Angharad is the leader, brave and aristocratic, and fully willing to sacrifice herself for the rest of the group. Toast the Knowing…

Okay, I have to take a break to acknowledge the weirdness of the names in this movie. Because they are all collectively so weird, it sort of works, in that they feel like they all belong to a world where naming practices have changed radically. Still, I have to ask what kind of drugs or drinking game aided the invention of these names? Anyway…

Toast the Knowing is quiet, and as such is the hardest to pin down, but she is the one who is able to handle guns, not fire them but load them and identify which bullets go with which weapons. In several scenes she reiterates their goal of finding “the green place,” which suggests to me that she is highly focused. Capable is the most compassionate, the kind of person who can look into an enemy’s eyes and see someone vulnerable, maybe in need of a second chance. The Dag’s suffering has made her fierce. She is delighted when she finds a mentor among the other female characters. Cheedo the Fragile lives up to her name. She is the most frightened and the most tempted to surrender. Typically she is seen standing behind or under the arm of another character. This makes her the most classical damsel in distress of the five, but when the time comes to be brave she finds her courage.

I liked that they were individualized, because it made an interesting counterpoint to the villain’s objectification. He treats them as inhuman, as women valuable only for being beautiful and fertile, but the writers and actresses take steps to remind us that they are people. On top of that, I loved the way they continued to be worked into action scenes as the plot continued. Letting them scream in the backseats would have been bland and expected, but the expected subversion, letting them all be action heroes, would also be cheap. It would reaffirm that the only kind of person worth being in an action movie is a stunt master, and would also be unrealistic given their background. And yes, I realize I’m talking realism in a movie which features an electric guitar that’s also a flamethrower.

But what happens is a kind of realism that is appropriate even in a movie so self-indulgently absurd as this one. They don’t become magical shots or martial artists just for the convenience of the plot, but they continue to find ways to help the characters who are actual warriors. Sometimes it’s loading guns in the backseat, sometimes it’s doing something incredibly brave that I won’t mention because spoilers, and sometimes it’s just defying genre expectations by bracing themselves in the background and not screaming. Honestly, these damsels scream less than in any other movie of its type that I have ever seen. It’s because they are brave, they knew what they were getting into, and they understand that when the action heroes with actual action hero training are stunt driving, dodging bullets and solving Inconvenient Equipment Malfunction #37, probably more noise is not what the situation calls for.

The point is, whether by action or by consciously chosen inaction, these characters participate in their own escape from beginning to end. This wasn’t heavy handed, but it still felt like the result of deliberate action taken by the creators to not do what they were condemning the villain for doing. Damsels or not, they weren’t going to erase these characters’ humanity, or their agency in their own story.

 

*A common trope in which something exists not to influence the story directly, but spur others to action by being desirable; the letters of mark in Casablanca, the diamonds in Notorious, the quest objects in the Indiana Jones movies, etc.

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