Does Kim Kardashian know Esperanto?
Yet in that illustrious hill of beans known as Meg Ryan’s “girl power” comedy, “The Women,” does matter. Its debut in theatres on September 12 will be scrutinized by studio execs and critics much like moviegoers will ogle Eva Mendes, Ryan’s smoking hot film nemesis. Why? It’s all about the money, honey.
Making movies by and for women has certainly not been a top priority in Hollywood. But two of 2008’s top-grossing films have shifted Hollywood’s thinking: “Sex and the City” and “Mamma Mia!”
As of the end of August, 2008 “Sex and the City” has made $152 million in the United States and $236 million overseas. “Mamma Mia!’s” haul is no less impressive. To date, the film version of the famed musical has earned $126 million in the U.S. and $250 million overseas.
Both “women’s” movies proved to be far more than flukes at the summer box office. They also proved that chick flicks can lure male moviegoers into theatres.
Can “The Women” do the same?
Pumping up the girl power
“The Women” isn’t Tolstoy. Don’t hold that against it. And if you’re annoyed that director Diane English dared to remake George Cukor’s 1939 classic, get over it. Remakes are the plat du jour in today’s Hollywood.
At its core “The Women” – a tale about a rich Manhattanite (Ryan) who learns of her husband’s affair with a shopgirl (Mendes) – holds as much appeal today as it did when Joan Crawford strutted her stuff as this story’s “other” woman. Cattiness, compassion, comic genius…Cukor juggled all that plus some crafty little nuggets about marriage, female friendship and love into a bonbon that only gets better once the wrapper comes off.
Like Cukor’s estrogen-stoked original English’s update is locked and loaded with heavyweight talent. Annette Bening (Ryan’s overbearing best friend), Debra Messing (the earth mother), Jada Pinkett Smith (the lesbian), Bette Midler (the jaded casting agent) and Candice Bergen (Ryan’s big-screen mom) easily round out this Gucci-clad girls’ club. In fact, Bergen nearly steals the show with her pithy one-liners and the Botoxed-brand of wisdom.
Tooled for the times, “The Women” even works some Oprah-esque self-help into its dialogue. “What do you want?” Midler’s ballsy character asks Ryan at a personal power retreat. From that moment Ryan visualizes these words 24/7 and morphs from a duped wife with no life into a dynamo who goes for her dreams.
Can women rule in Hollywood?
If it’s a hit “The Women” could help propel Hollywood’s “girl power” momentum to new heights. If its success eclipses “Sex and the City” and “Mamma Mia!” that’s just one small step in the right direction, says Phyllida Lloyd.
“Frankly I find it very odd that in a population that’s more than 50 per cent of women that Hollywood isn’t producing more movies to cater to that audience. The demographic is being grossly underserved in my opinion,” the 50-year-old Mamma Mia! director told CTV earlier this summer.
According to www.moviesbywomen.com only five per cent of Hollywood features are directed by women. In fact, women comprised just seven per cent of the directors working on the top 250 films of 2006, 92 per cent of these films had no female directors at all and 63 per cent had no female producers.
As for meaty leading roles for 21st-century actresses, consider this. When George Cukor made “The Women” in 1939 Bette Davis stared in “Dark Victory,” Greta Garbo headlined in “Ninotchka,” Judy Garland sped to super-stardom in “The Wizard of Oz” and Vivien Leigh conquered the world with “Gone with the Wind.” Can anyone remember a year like that in Tinseltown in recent times?
“The only rule in Hollywood is that there are no rules. Nobody knows what is going to sell,” says Canada AM movie critic Richard Crouse. “‘Every now and then a movie comes along that goes against the current wisdom of Hollywood. For example, movies headlined by women can’t make money. ‘Sex and the City’ changed that. It proved to Hollywood that women do go see movies, not just 15-year-old girls.”
“The Women” has its charms and enough stilettos to kick most gold-digging, husband-stealing social climbers to the curb. But can it kick some serious box office butt? Can it convince Hollywood to make more movies geared to a female demographic? Like those breathy studio execs we’ll have to wait and see.
As Lloyd says, “To have Hollywood tell me or other women like me that we’re not a market that interests them is silly. Good stories work. Hollywood should wake up to that and give this audience films they want.”
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