Archive | Feminist Matters

The People We Choose

There’s nothing better than gussying up for a girl date, romantic or otherwise. Heck, all girl dates are romantic. At the very least, you know that those small flourishes have a good chance of being appreciated. Exhibit A: my dear friend Rachel and me. Last night, along with another sweet lady, we had midcentury prime rib and cocktails at Midtown’s Smith & Wollensky, the most midcentury steakhouse of them all. (We also ate creamed spinach, if you need a complete picture.) When I got home, I felt soothed rather than savaged, which reminded me of a favorite quote from the Los Angeles essayist Eve Babitz:

I had a collection of lovers to keep me warm and my friendships with women, who always fascinated me by their wit, bravery, and resourcefulness, and who never told you the same story twice. I mean, you can go places with a woman and come back just fine. As my agent, Erica, plowed right in and said: “You know when you have dinner with a girlfriend, you’re going to come back a whole human being.”

*Update: Part of me hesitated before putting up this post since it seems retrogressive in terms of its gender polarity. So, to be clear: I am talking about anyone who embraces womanhood–the whole spectrum, from transwomen to delicious butches who uphold their womanhood (just not their femininity, which to my mind is super different).

3 Lady Music Biopics to See Now

Music biopics – both documentaries and narrative features – are a dime a dozen these days. Even if your only claim to fame is cult status as a 1970s folksinger, chances are good someone has made a movie about you. That is, unless you’re a woman. Although 2013’s “Twenty Feet from Stardom” put the spotlight on ladies in music, biopics about female musical artists are still few and far between. For that reason alone, it’s worth checking out these three documentaries about groundbreaking female singers that were released this summer. Happily, there are plenty of other reasons to do so as well.

“The Outrageous Sophie Tucker”
Few know who she is these days but in 1962, ninety-two percent of people polled associated the name “Sophie” with “Tucker.” That’s how popular the eponymous singer and comedian used to be in vaudeville, cinema, and television. A Ukrainian Jew who fled a restrictive Orthodox family, she first made her name performing in the Ziegfeld Follies but quickly became known in her own right as a larger-than-life presence in every sense of that term. Through rare footage and interviews with Carol Channing, Paul Anka, Michael Feinstein, Tony Bennett, and Barbara Walters (whose father Lou headlined Tucker in his nightclubs), director William Gazecki paints a portrait of the woman who referred to herself as “the Last of the Red Hot Mamas.” Gazecki’s filmmaking is not especially innovative but this may work in his favor. It’s best to let the details about this pioneering woman speak for themselves: She was a self-marketing genius half a century before Madonna; a fat activist before Ms. Magazine was a twinkle in Gloria Steinem’s eye; an unabashed civil rights advocate, especially when it came to singers like Josephine Baker; a pal to the Kennedys and J. Edgar Hoover (the closeted cross-dresser asked to borrow her spangled gowns); and a highly sexualized being who had three husbands to her name and, this documentary suggests, many female lovers as well. She also was a highly innovative jazz stylist who mentored Mae West and Judy Garland. Bottom line: See this movie to know exactly who you should be thanking, ladies and germs. Continue Reading →

The Uneasy Marriage of ‘Trainwreck’

Without a doubt, this is the Summer of Amy Schumer. Her Comedy Central show lights up social media feeds like a Christmas tree every week, her speeches are the stuff of which female empowerment dreams are made, and her tweets are analyzed as if they were the National Debt. Now, with “Trainwreck,” she’s starring in a Judd Apatow-directed feature film that she also wrote, at least partly based on her own experiences.

Case in point: thirtysomething New Yorker Amy stars as thirtysomething New Yorker Amy, though she is a writer for a Maxim-style magazine rather than a stand-up comic. The film begins as her father, played by the perpetually indignant Colin Quinn, is explaining to his tweens Amy and Kim why he’s divorcing their mother: “Repeat after me, girls: Monogamy is unrealistic.” Cut to a present-day montage in which obedient daughter Amy behaves promiscuously, gets wasted, and wakes up in a stranger’s bed in Staten Island. On her ferry ride of shame, clad in a gold micro-mini, she splays her arms at the bow of the ship in the wannest of homages to “The Titanic.” Roll the opening credits!

It’s a brilliant beginning – everything we’d hope for in Schumer’s first feature – and if the rest of this film followed suit, she’d be king of the world. But while “Trainwreck” is hardly true to its title, it suffers from an identity crisis that dulls the acuity that makes the comedian the toast of water coolers everywhere. Chalk it up to an uneasy marriage between Schumer’s glass-ceiling-shattering riffs, which may be best suited to stand-up and short skits, and the “Apatow Agenda” – that is, family values delivered via boot shoot. Continue Reading →

"All, everything I understand, I understand only because I love."
― Leo Tolstoy