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Our 4 Star Rating:
 
1 Star: Destructive values
Films which present a dehumanizing perspective.

2 Star: Shallow
Films that provide basic entertainment, but no message of any substantive meaning.

3 Star: Thought-provoking
Films that engage the viewer in ideology, experiences, beliefs, with which we may or may not agree but they cause us to think and be better informed.

4 Star: Uplifting
Films that inspire the viewer to become emotionally and spiritually renewed or transformed by the messages portrayed.

IN THE LAND OF WOMEN

3 Stars – Thought-provoking

The difficulty with gender is that it is unpredictable.  We would like to be able to say that all men come from Mars and all women originate in Venus, but the truth is that these stereotypes are themselves misleading.  Men and women are not all like their own gender nor are they all dissimilar to the opposite sex and, when we try to either demand that of ourselves or one another, we lose our common humanity in the process.  That is not to say that our lives have no differences either biologically or socially because of gender, but it is to acknowledge that humanity is first and foremost a shared experience before it is divided one.  This is the lesson of Jon Kasdan’s “In the Land of Women.”

Breaking the gender stereotype in the opening scene as Carter Webb (Adam Brody) emotionally asks Sofia Bunuel (Elena Anaya) to not leave him when she assertively breaks off their dating relationship.  We immediately realize that this journey into the “Land of Women” is not going to be traveled by a macho male with frozen emotions.   Carter is a sensitive human whose heart is broken by the rejection of Sophia.  This foundation sets the story on a trajectory that raises it above the humor of gender stereotypes and allows us to identify with the authenticity of everyone within the story.  Though Carter is surrounded by females it is as a fellow human being.

Needing a change of scenery, Carter unilaterally decides to leave Los Angeles and go to his grandmother’s home in Michigan to ostensibly care for her.  But Phyllis (Olympia Dukakis) is not your stereotypically nice grandmother.  Caustic and profane, Phyllis is obsessed with her own mortality and presents a wall of rejection to Carter’s appearance.  It becomes clear, however, that this rejection is a veil she is laying over her fear and she gradually softens to his willingness to be there.

The focus of the story, however, is not with Carter and Phyllis, but with a mother and daughter who live in the perfectly manicured home across the street.  The perfectionist is the full-time homemaker Sarah Hardwicke (Meg Ryan).  The daughter is the rebellious teenager named Lucy (Kristen Stewart).  Since Carter is mid-way between their two ages, the plot is set for both Sarah and Lucy to be attracted to him as he naively and yet charmingly engages them both.

What makes the film intriguing is that they are all just human beings trying to find their way in the difficulties of their lives.  They reach out to one another as fellow travelers, only to be confused by their attractions and jealousies.  Not realizing that they need protective parameters to their interactions by clearly honoring Sarah’s marriage and Lucy’s adolescence, they almost lose one another as they lose themselves.

Though we won’t tell all the details of the journey, the lesson is an important one.  In a sexualized world where we often see one another in categories that make it hard for us to simply support each other in the journey of life, “In the Land of Women” suggests a different world:  a world where we are humans first, and genders second; where we care for one another without thinking it must be expressed in sexual terms; where we help one another find healing in safe relationships with identities that transcend gender; where we join together as human beings on a far larger journey than just our gender and sexual identities dictate.

 

Discussion:                                   

1.       As you look at your relationships, are you able to have supportive ones with those of the opposite gender?  Why or why not?

 

2.       How much do you think the fact that Carter’s writing career has become stuck in writing soft porn has truncated his growth as a man and as a human being?  What do you think it meant for him to write a children’s story to give to his grandmother?

 

3.       The stereotypical reaction of the quarterback to Carter bringing Lucy to the party was to call him out and punch him.  Why do you believe Kasdan put this in his film?  Was it only to resolve the plot by creating the appropriate love relationship for Lucy or did he have a larger purpose?

 

4.       Do you believe the affair that Sarah’s husband was having was Sarah’s fault, as Lucy claimed – or was her anger due to Sarah’s lack of understanding and support for her in her time of need? 

________________       

Cinema In Focus is a social and spiritual movie commentary.  Hal Conklin is former mayor of Santa Barbara and Denny Wayman is pastor of the Free Methodist Church. For more reviews: http://www.cinemainfocus.com.

 


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