MCN Blogs
Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Girls On Film

No, not the Duran Duran song (though I have that stuck in my head now).

What would guy-centric movie scenes look like with chicks playing the roles instead? That’s what website The Girls on Film set out to find out. So they’re taking movie scenes with male actors and reshooting them (essentially shot-for-shot, so far as I could tell without a frame-by-frame analysis) with female actors. And at first I thought it was gimmicky but as it turns out, it’s really a fascinating project.

So far they have a couple of these up: Fight Club, Star Trek and The Town.

So go and take some time to watch them. If you only want to pick one, I recommend The Town. But they’re not that long, so if you have time, or you’re bored at work and wanting to kill a few minutes, go for it.

For me, watching each of these a couple times was kind of jarring at first, and then interesting as I re-watched to pick up on subtleties of my emotional response to the clip that might be different than my response to the source material.

It’s hard to be objective in judging how much of the difference in reaction is simply due to it being a remake of scenes that I’ve seen in their original context versus the impact of seeing them specifically with female actors instead of guys. Maybe gender really is only one minor factor in the scenes feeling different and the disconcerting sense you get watching the clips is just about different actors (without regard to gender), differences in production value, tone of performance, etc.

I was most struck by the clip of The Town; for some reason the cursing in that scene stood out way more for me in the reshoot than it did in the original, which I guess speaks to my Southern Catholic upbringing around how ladies are “supposed” to talk … even though I’ve been known to curse like a sailor.

The physical fighting in both the Fight Club and The Town clips felt more jarring to me as well — as did the bloody nose in Star Trek — because girls were involved. Or at least, those things caught my attention in a different way, which I guess, I don’t know … makes me … genderist? Or maybe just a victim of my societal indoctrination in the expected gender-specific behaviors of guys and chicks.

I’m not sure, even after reading the “About” page of the site, whether the trio behind the site — Ashleigh Harrington, Cat McCormick, and Jeff Hammond — intend an academic angle with what they’re doing here, but really their intent matters little. The interaction of audience with their project certainly has the potential to generate some interesting (yes, interesting) conversation around gender and Hollywood. Fascinating stuff, and gave me something to think about.

As an aside: Take a look at the clip below. This is from the Oxford Film Festival awards in 2009. It’s a short remake of the diner scene from Pulp Fiction … but with little kids instead of adults:

Okay, now. Putting aside, if you will, the relative qualities of filmmaking — because really, the clips on The Girls On Film are pretty well shot — it’s also disconcerting to see the Pulp Fiction diner scene re-enacted by little kids, right? I remember when they played this at Oxford, we were all kind of shocked because we weren’t expecting it. But we laughed our asses off, I guess because we are bad people. And because it’s funny to see little kids sort-of curse.

Then again, I made my 9YO daughter a Hit Girl costume for Aki-Con last November (my husband went as Kick-Ass), so I guess for some people I already fall under the heading of “questionable parenting.” So you should maybe take that with the proverbial grain of salt.

PS There was a pretty smart write-up on The Girls on Film by Mathilda Gregory on The Guardian’s website a while back. If gender topics are your thing, you should check it out.

Leave a Reply

Quote Unquotesee all »

Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé