Director Kathryn Bigelow poses with her Feature Film Award for “The Hurt Locker” during the 62nd Annual Directors Guild Of America Awards
From the Hollywood Reporter: In an historic win, Kathryn Bigelow and her tense Iraq War drama “The Hurt Locker” from Summit Entertainment copped the DGA Award for best-directed feature film Saturday.
The win drew cheers from a packed ballroom of the Hyatt Regency Century Plaza, where throughout the night it was clear many were pulling for Bigelow to deliver a dramatic victory for female filmmakers. The DGA feature film win was a first-ever by a woman.
“This is the most incredible moment of my life,” Bigelow said.
Bigelow overcame competition including Fox-distributed “Avatar,” directed by her ex-husband James Cameron; Lee Daniels and “Precious: Based on the Novel ‘Push’ by Sapphire” from Lionsgate; Jason Reitman and “Up in the Air” from Paramount; and Quentin Tarantino and “Inglourious Basterds” from the Weinstein Co.
The DGA’s feature-film award is one of the best gauges of likely success in Oscar’s best-director category. The Academy Award for directing has gone to someone other than the DGA winner only six times since the guild launched its awards in 1948, most recently in 2002 when Roman Polanski copped the Oscar for “The Pianist” and the DGA crowned Rob Marshall for “Chicago.”
The DGA win for “The Hurt Locker” follows its selection by the PGA Awards — another reliable barometer of Oscar success — as the producers’ best feature film. Academy Award nominations will be announced Tuesday.
“This is amazing,” a clearly moved Bigelow said in accepting the DGA laurels. “I am so deeply stunned and honored and proud.
She accepted the “unimaginable honor” on behalf of the “men and women in the field” in the Iraq military zone.
I’m embarassed to say I still haven’t seen “The Hurt Locker” yet but I definitely will. (The only Kathryn Bigelow film I’ve seen is “Near Dark“).
Check out the trailer for “The Hurt Locker” below:
I really liked The Proposal with Sandra Bullock and Ryan Reynolds. And not just because it was hilarious, well-paced, and looked fantastic. I liked it because I thought it touched upon some issues career women face and was, dare I say it, a somewhat feminist film. Sandra Bullock plays a Type A boss with an aggressive and dominant attitude who always expects the best from everyone. She’s not doing anything wrong, but because she is a woman (and that type of behavior sure isn’t expected in a woman), it doesn’t go over so well at times.
There was one scene where she fires an employee for not doing his job that I found really interesting due to his explosive reaction and how she responds. I unfortunately couldn’t find a clip of this so I’ve written out the dialogue below:
Margaret: Bob, I’m letting you go.
Bob: Pardon?
Margaret: I asked you over a dozen times to get Frank to do Oprah and you didn’t do it. You’re fired.
Bob: I told you that is impossible. Frank hasn’t done an interview in over 20 years.
Margaret: Well that is interesting, because I just got off the phone with him, and he is in.
Bob: Excuse me?
Margaret: You didn’t even call him, did you?
Bob: But…
Margaret: I know, I know. Frank can be a little scary to deal with. For you. Now, I will give you two months to find another job. And you can tell everyone you resigned, okay?
Bob: You poisonous bitch! You can’t fire me! You don’t think I see what you’re doing here? Sandbagging me on this Oprah thing just so you can look good to the board? You are threatened by me! And you are a monster.
Margaret: Bob, stop.
Bob: Just because you have no semblance of a life outside of this office you think you can treat all of us like your own personal slaves? You know what? I feel sorry for you. Because you know what you’re gonna have on your deathbed? Nothing and no one.
Margaret: Listen carefully Bob. I didn’t fire you because I felt threatened. No. I fired you because you’re lazy, entitled, incompetent and you spend more time cheating on your wife than you do in your office. And if you say another word Andrew here is going to have you thrown out on your ass – O.K.?
Throughout the altercation, Margaret stays cool and collected. She clearly doesn’t think much of Bob by the tone of her voice when she says, “I know, I know. Frank can be a little scary to deal with. For you.” If Bob can’t do something that Margaret can get done easily, he doesn’t deserve to work with her.
There’s a later scene in the film where Margaret tells Andrew that she went into the bathroom and cried after Bob called her a “poisonous bitch.” Despite her hardened exterior, Margaret still has feelings and being called something so degrading in front of the entire office was embarassing. Bob was clearly out of line, but there was nothing Margaret could do about it. I sometimes wonder what the outcome would have been in this exact scene if Margaret were a man and Bob was a woman.
I came across an interesting blog post “The Proposal as a Feminist Statement” by the Third Estate Sunday Review. There was a roundtable about The Proposal and feminism, and some of the stuff people had to say about that scene with Bob was pretty interesting.
Rebecca: …. Some men and masculine women insist The Proposal is sexist. They say Sandra’s playing a backlash role in a backlash film because, yet again, the career woman’s a bitch.
Ava: …. She’s playing a woman with a job and I love how everyone says “career woman” as if it’s bad thing. But I don’t see her as a bitch … Where is she a bitch in the film?
Rebecca: She fires a man, Bob, because he didn’t get an author to go on Oprah. Everyone in the office is scared of her.
C.I.: Her character, Margaret Tate, wants everyone to live up to a professional standard. Is she a bitch? I don’t see how and the film plays with this, it plays with this perception and attempts to implode it. But Bob’s fired for lying. He’s under Margaret, that’s why she can fire him. She told him to get an author to go on Oprah. He told her the author said no. She called the author, talked him into it and found out that he’d never been asked by Bob about it. She confronted Bob with that. That is grounds for dismissal. She gave Bob a direct order. He not only blew her off, he lied to her and told her that he’d tried and the author wasn’t interested. Bob gets to then call her a bitch and everything else while the office that hates her watches with glee. But why do they hate her? Because she won’t play Mommy? A man with the same standards, would he be so hated? He’d be feared but he wouldn’t be so hated. I’m tossing to Mike because he wants to say something.
Mike: Yeah. When she enters the office, her first scene, you’ve got people surfing on the net, joking around, making personal calls. She’s coming down the aisles and all the sudden, they’re freaking out and trying to avoid getting called out by her. Called out for what? For not doing their job. Why weren’t they doing their job to begin with? Where is she a bitch? She’s got standards and she’s the boss. If you don’t like the standards, get another job. But she’s called a bitch and she’s called a witch, and she’s supposedly on her broom, and you name it. And, at the end of the day, their big problem in the office appears to be that despite having a female boss they can’t do what ever they want. In other words, the female boss doesn’t let them push her around and that appears to be why they hate her and call her a bitch.
The Proposal was not meant to be a heavy film – it was marketed as a summer comedy, after all. But I really liked how they gave so much more dimension to Sandra’s character than was necessary. If you haven’t seen this film yet, you really should!
Very addicting trailer – song is Katy Perry’s “Hot N’ Cold”
This past year a good friend of mine, Losmeiya Huang, interned at John Snow Inc, a public health organization. She is currently a senior at Stanford University majoring in Human Biology but spent her junior year spring quarter and summer in Washington D.C. at The John Snow Research and Training Institute focusing on Reproductive Health for Refugees.
She spent a week in Sierra Leone over the summer visiting with The Astarte Project, a nonprofit that enhances access to quality reproductive health services by building leaders in communities affected by crisis. Losmeiya REALLY wanted to go and actually spent a week there by herself doing work with Astarte. Now, she looks exactly like me – petite, Asian, non-threatening looking – so staying safe was obviously an issue. But she was fine, had an amazing time there, and I’m sure will be going back again. I wouldn’t be surprised if she dragged me there with her.
Losmeiya wrote a short essay describing her experience -
“One of the most important things I learned about poverty isn’t just that people are hungry or homeless. It’s that they when they are poor, they become no one. To the world looking in, the images of starving children covered in soot aren’t realities, but identities. For the past 6 months I had a chance realize the fallacy of that belief and the damage believing it can cause. As an intern work at John Snow, I worked on the Astarte Project, which partners with local NGO leaders in Liberia and Sierra Leone to increase reproductive health services to their communities. We sought out leaders who want to change their health systems and support them through small grants, skills trainings, and networking workshops.
Reproductive health is a crucial, but often neglected part of being healthy. Given that 75% of the world’s poor are women, providing adequate maternal care, education on sexually transmitted infections, choice on when to have children are crucial to alleviating poverty. However, in my work on Astarte, I discovered that such services are forgotten when many international actors and governments help to relieve and rebuild countries afflicted by natural disasters or civil wars.
Part of my internship took me to Sierra Leone itself, where I met women and men who shared with me their visions for improving reproductive health services in their country. It was there, smelling the cassava in the markets of Freetown, shaking the hands of internet café managers, seeing the curiosity of two-year-olds, and listening to people speak of their hopes and fears that I realized we’re not that different. So then why do I get a chance to be healthy, but not them?
To me, the wonders of a woman are infinite if we only give her a chance. So much of who I am today are not my own doing, but because I have parents who give me the resources to be healthy, teachers who invest in my educational success, mentors who guide my decisions. A girl in Sierra Leone is not just hungry for food, but for opportunities to use and develop the talents she already posses. Astarte was my gateway into understanding what it means to be a woman myself, and how my identity can contribute to alleviating poverty so that no one has to feel like a nobody.”
According to their About Me section, “DoubleX is a new Web magazine, founded by women but not just for women, that Slate launched in spring 2009. The site spins off from Slate‘s XX Factor blog, where we started a conversation among women—about politics, sex, and culture—that both men and women listen in on. DoubleX takes the Slate and XX Factor sensibility and applies it to sexual politics, fashion, parenting, health, science, sex, friendship, work-life balance, and anything else you might talk about with your friends over coffee. We tackle subjects high and low with an approach that’s unabashedly intellectual but not dry or condescending. The blog is at the heart of the site, but we also publish essays, reporting, and other features.”
I watched Fargo by The Coen Brothers last night and was simply fascinated by 1) their accents and 2) Marge Gunderson, played by Frances McDormand.
First off, I’m a big Frances McDormand fan. She’s always had this “I’m doing my own thing and don’t care what people think about me” feel to her. She has never looked like your typical female Hollywood star (I remember seeing her at the Oscars in 2006 for her Best Supporting Actress nomination in a regular suit and GLASSES!) and hardly ever “does herself up” in hair and makeup. In her movies, she never looks like she’s wearing makeup and often at times, I wonder if she’s even bothered to comb her hair. She’s quite possibly the most natural-looking woman I’ve ever seen in show business. I wish I had the guts to wake up, throw some clothes on, and walk out the door, but I care too much about how I look.
It’s also in the movies Frances does – I’ve noticed that she only does films where she gets to play a strong female character. The very first film I’ve seen of hers is Laurel Canyon (one of my all-time favorites), where she plays the dominant, free-spirited record producer having an affair with a musical client half her age. In Something’s Gotta Give, Frances has a small role as a professor of women’s studies at Columbia University and says some interesting stuff about the double standards inflicted upon women.
In Fargo, Frances plays the seven-month pregnant Marge Gunderson who ends up saving the day. I thought that role was incredibly interesting – her pregnancy reinforces the fact that she’s female, but the fact that she would go out and work “in the field” so far along is surprising, especially in her often dangerous line of work.
Marge Gunderson is also not sexualized in the movie at all. Frances has a “mom” hairstyle, barely any makeup on, wears a pregnant belly (fatsuit), and is covered head-to-toe in police gear. Despite her pleasant attitude and accent (which almost veers on comical), she is very smart and figures out the crime due to hard work and her instincts.
From J_win7: Not only in her police work is she sharp, but she’s sharp and respectful with people as a whole…
She emotionally and verbally supports her husband, who obviously has the “lesser” of the two jobs, through her pregnancy.
She’s courteous with Mike when he oversteps, both on the phone and in person.
She’s straightforward and clear with Proud foot, letting him know that she knows he’s involved and also his parole history. She’s done her homework, has him right where she wants him, but still doesn’t push him. It’s like she makes him aware so he can make the right decision.
Marge isn’t out to prove anything… like she tells Jerry, she’s just doing her job. Even when she has the upper hand, she doesn’t embarrass the other party, but instead is quite civil and respectfully honest with them. She’s easily one of the most likable characters in film history for that “catch more flies with honey than vinegar” way of carrying herself.
Yes, she’s a pregnant woman from a small town, but her job is a police officer and she does her job well.
From Redisca: …Marge’s character is a parody of the traditional detective. After all, traditionally, this is one of the most hypermasculine archetypes in literature and cinema. So to have those shoes filled by a pregnant woman in her thirties simply takes it out of the cliche territory.
Check out the very first scene where we see Marge. This is about 30 minutes into the film after the story is set up. We see Marge’s interactions with her husband, her police partner, and how sharp she really is. In this clip, she comes in around the 3rd minute so feel free to skip until then.
Hello there. I'm Star Li, a marketing analyst at Revolution Money (an American Express company). I recently graduated from Cornell University, and am psyched about being a "real adult."
I've always been fascinated by women (both real and fictional) who have made a difference in the world and decided that I should start a blog about this.
About once a week (twice if you're lucky), I'll write a piece focusing on a female-related issue I find from the news, media, or whatever happens to leap into my brain.