Friday is the (Inspirational) Movie Night: Frozen (2013)

#inspirationalmovies

OK, so this is long time overdue. I was sure that this one has already be shared... but, no. So, here you have the icy (think of a sorbet!) treat for every season: Disney's Frozen (2013, Chris Buck & Jennifer Lee)!

So, why Frozen is better then the classical Disney princess stuff (think Cinderella)?
Two complex female protagonists. Some superpowers that need to be explored and dominated. The true love that breaks all the spells is not what you were taught it was. And *possible spoiler* the handsome prince is not the solution for all ills, quite the contrary.  

Why is Frozen as good as any other Disney's classical (think The Lion King)?
It's fun for all ages, has great music, celebrates friendship, loyalty, and family.

Why is Frozen equally un-perfect as all the princess-centered child culture is?
While the plot is quite solidly empowering, the way the movie is drawn and was marketed reveals the same bias that female characters suffer in both animated and other entertainment areas. Read more here, here, here, here, here, and here.

With that in mind (and trying to ignore that somehow the heroines are so much smaller than the heroes and so barbie-like shaped), relax, get cozy and finally watch Frozen. Or watch it again.
Then get the soundtrack and sing along to Idina Menzel at moments when you have to let it go.

Friday is the (Inspirational) Movie Night: El laberinto del fauno (2006)

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"A fairytale for grownups," some commentary said... well, fair enough! The plot El laberinto del fauno (2006, Guillermo del Toro) can be described as "a young girl is informed that she's a long lost elf princess, and that she has to complete three tasks in order to return to the kingdom of her origin". Sounds quite inoffensive, right? Sounds like a fun fairy-tale, suitable for all ages?

No. El laberinto del fauno is rated R for "graphic violence and some language", and is not suitable for small children. At all. Unless you really want to traumatize. The fantasy world del Toro depicts is dark, eerie and very visceral.
But the movie is good, it has a brave, self-emancipating girl protagonist, and we could stop here.

But El laberinto del fauno has a second layer of relevance. The movie is set in right after the Spanish Civil War, depicting guerrilla warfare and some of the choice women could make in this context: (a) trying to survive and not get involved in any political action; (b) enjoying the privilege (and avoiding hunger and danger) if their husbands happened to be part of the new regime; (c) assuming the imminent risk and take part into guerrilla movement, either in the woods or helping from outside; or (d) trying to protect themselves and their children by actively seeking protection of the fascists. While none of these are clear-cut or independent choices, you get to witness the whole spectrum of from adaptation to resistance. That's the special, feminist added value of this movie.

An additional reading on a (slightly) different war that was won by other people and women's destiny after the victory: An Ugly Carnival by Antony Beevor on the social and physical punishments that women accused of collaboration horizontale during the WWII were submitted to.

Friday is the (Inspirational) Movie Night: Alice in Wonderland (1951; 2010)

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A double treat. Now, obviously, there are some significant differences between Disney's Alice in Wonderland (1951) and Tim Burton's Alice in Wonderland (2010).

Disney's Alice is a family-friendly musical basically and only suffering depicted is Alice's existential anguish (+ cards/guards being carried away to be executed + the tension around the naive oysters + some cartoon-like violence). And you get singing/gossiping flowers, the adorable Dormouse, Dinah and the gullible oysters, the rather bipolar Caterpillar, etc...while the basic narrative could be "a girl wonders off and explores a bit". It's not as deep nor dense as the original books, but gives you a somewhat glamoured-up and coloured version of Alice-logic and Wonderland-logic.

Burton's version sequel of the classical story is much darker, much more violent and decisive... in the sense of bringing political power play, oppression, real insanity, death into the picture. The characters that were slightly off the hinge when Alice was young (read: in the books and the Disney movie) have gone quite awry and scary. And - as in most of the bring in the savior stories - Alice's duty (while nobody asked her if she wanted to have such) is to save their world/put the correct monarch in place.

The final verdict is as follows: Disney's Alice is a fun classic, an older and very white version of Dora the Explorer, about a girl enjoying her fantasy world; Burton's Alice is the over-and-over retold story of an unexpected child savior (see The Chronicles of Narnia, The Neverending Story, The Wonderful Wizard of Oz, among many others). The only perk is the fact that he has interwoven that with the Alice narrative and explored Carroll's fantasy world and its creatures. Therefore, you pretty much have to be familiar with the books or the 1951 movies (as the golden standard among all the Alice-films) to understand where Burton comes from.
The old one is much better and you should know it by heart (the whole thing on giving yourself useful advices while challenging the rules of those around you, speaking truth to power, trying to balance being polite and not putting up with BS). Burton's Alice is interesting mostly just for his fans. And, well, yes, due to the fantasy world being offered as an escape from dreadful existence as female in Victorian England.  

 

On a lighter note, here you have the tune & video that Pogo has made from Disney's Alice. The singing flowers and such.

Friday is the (Inspirational) Movie Night: Spirited Away (2001)

#inspirationalmovies 

Spirited Away (2001, Hayao Miyazaki) goes into the same box as much of children's adventure. Like Dorothy or like Sarah, Chihiro finds herself in a situation that requires her to become a better person than she has been so far and a braver one, too.
And somewhat more like Baby, she's challenged to stand up for people she loves (with no sexual connotations though, this is a PG animation apt for children).

According to Academy Awards, this is the best movie of Miyazaki (won the Oscar as best animation in 2003) who has been creating meaningful girl characters and girl-centered films throughout his professional life (see Nausicaä, Satsuki and Mei, Kiki, or Sophie). Probably the most convincing feature of them all is the multidimensional humanness (the one that Disney princesses lack to some extent).
Chihiro - and other characters, like the adorable witch twin-sisters - is cranky, capricious, and indecisive at times. They are not the same with all the people. They are angry, afraid, hungry... Like anybody, you know. And still they have the most breathtaking, epic adventures.

Friday is the (Inspirational) Movie Night: Nausicaä of the Valley of the Wind (1984)

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Nausicaä of the Valley of the Wind (1984, Hayao Miyazaki) is a warrior-princess story. While it goes a bit further in the dedication-for-your-cause scale than healthy, requiring effort close to self-sacrifice, that does not change the fact that Nausicaä is beyond any pochahontas out there (well, apart from being a fictional while the other one was not).

Miyazaki does follow a feminism-of-difference argument on the innocent-girl-in-touch-with-nature saving her world and outsmarting the establishment, but that gets somewhat balanced with the fact that the invader leader is also a woman... Anyways, here you have a full-blown (animated) action movies with an underlying environmental concern with a great (very active and independent indeed) female lead. Inspirational it is.