![]() Her two couriers through this new world, Cal and Teri ( Arinzé Kene and Marsha Stephanie Blake, both excellent), have seemingly already reached this balanced point, the nods to their security coming through their actions as well as when they are present in the narrative. source: Amazon StudiosĪnd as if to add icing to the cake, Hart doesn’t relegate this vision of security to her heroine. It’s true feminism, the idea that a woman will raise her child, battle their enemies, and be happy doing it all, even if she’s still not great at cooking an egg. What Hart lands on is a mix, not a shedding of traditionally female roles but an incorporation of male ones next to the female. That, though, is a mistake of being continuously fed stories by, for, and about men. Most, when thinking of this character’s endpoint, would imagine the inevitable jump into the fray as the high point, the taking on of traditionally masculine roles as the ultimate feminist narrative. A woman on a journey is very much what Jean is, and Brosnahan captures every step.Īll of which would’ve made for a fine rewrite of the genre, but Hart again shows that she’s a bit more nuanced than the average filmmaker. She pulls off the eventual chases and gunfights admirably, but it’s in the meting out of Jean’s breakdown and rebuilding that she excels. ![]() Maisel, she’s seasoned in the themes but not the genre. Known primarily for playing the ‘50s housewife turned stand-up comic in The Marvelous Mrs. Rachel Brosnahan as Jean, the woman fleeing the repercussions of her husband, is at once expertly prepared for the material and an inspired casting choice. Life at home was seemingly a struggle that would’ve caught up to her anyway, the sudden adventure of a knock at the door and a midnight flight as much a reprieve as an upheaval. Her protagonist is not the man mucking everything up but the woman he leaves behind, one who struggles to make breakfast and is alarmed when her husband brings her a baby after they had difficulty conceiving. source: Amazon Studiosīut women were thrown off by these changes as well, and here Hart runs the pressures of womanhood through the same grinder. The shifting and resettling of power after the turbulent 1960s means they were largely questioning their place, the methodical and usually understated drama of these movies reflecting the way some tried to suppress the cultural upheaval that was still churning. The policemen, gangsters, private investigators, and journalists that these films revolved around were almost exclusively men, as were the worlds they moved in. To say that ‘70s crime thrillers explore very masculine territory is no grand statement. I’m Your Woman is no exception, but those quick turnarounds also make what she’s able to churn out all the more impressive, in this case, a deliberate twist on the ‘70s crime thriller: one that’s actually about a woman. ![]() Everything post- Miss Stevens could probably use another pass or two at the script, which she always co-writes with her husband and ‘guy who held up the Moonlight card at the Oscars’ Jordan Horowitz. ![]() The downside to all this rushing about is that Hart’s films can feel a bit, well, rushed. You gather some flashy duds, a gun, and a baby, and take on an iconic moment in film history. Here was a woman seemingly brimming with ideas, not constrained by genre, wheeling around and doing what she wanted in an industry that scoffs at the notion.Īll of that’s to say I was excited and not at all surprised to hear that her fourth feature in four years would be a period crime-drama because that’s obviously how you follow up a dramedy, a superhero movie, and a coming-of-age romance for Disney+. Her melancholic but supremely charming dramedy Miss Stevens was the kind of assured debut that made you take notice, and the quick announcement that her next project would be an indie superhero film starring Gugu Mbatha-Raw cemented my excitement. ![]()
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