These are my top ten films of 2011. The list is hardly academic, just a simple list of favourites, and my reasons for them.
An enchanting and poignant reminder of why and how we fall in love with cinema.
2. Super 8
A wonderfully realised piece of cinema nostalgia that manages to establish and express its own identity.
Cool, thrilling, compelling and shocking. The best Michael Mann film that Michael Mann didn’t make.
The funniest film of the year – two hours was not enough!
5. Tinker, Tailor, Solider, Spy
An intense, intelligent spy thriller, with a calm, measured yet never less than gripping pace.
6. True Grit
Atmospheric, gripping and soulful, with a nice line in gallows humour.
7. X-Men: First Class
True to the spirit and narrative of the previous instalments, yet still with an identity of its own.
8. The Ides of March
National politics collide with personal ethics in a thriller that shows what’s wrong with electoral practice.
9. Fair Game
An interesting post Iraq War film, that may make you very, very angry.
10. The Girl with the Dragon Tattoo
An atmospheric and brooding film that slips easily into shocks and thrills.
Almost in but not quite:
Hanna – a new twist on the spy thriller, merged neatly with a fairy tale.
Rise of the Planet of the Apes – an old franchise rises again!
Source Code – intelligent science fiction and a gripping story.
Captain America: The First Avenger
Crazy, Stupid, Love.
Harry Potter and the Deathly Hallows Part II
Mission Impossible: Ghost Protocol
Sherlock Holmes: A Game of Shadows
Turkey of the year: Your Highness. Not awful, but not that good either.
I recently saw Mission Impossible: Ghost Protocol, and was overall very impressed. A good story, well directed by Brad Bird, excellent action sequences and, unusually for a TOM CRUISE film, a balanced ensemble cast. Despite Cruise being the main attraction and very obviously the star (as demonstrated by the posters that emphasise his name even when a co-star is featured), both the script and the direction give adequate balance to his three co-stars. As William Brandt, Jeremy Renner works well as a rookie with a troubled history, and his developing relationship with Cruise’s Ethan Hunt gives his character direction. In addition, Brandt has some excellent banter with Simon Pegg’s Benji Dunn, who largely delivers the much-needed comic relief in a movie that needs humour to balance its own ludicrousness. And Paula Patton’s Jane Carter demonstrates that women can do just as well as men in this high-octane environment.
And yet, the role of Carter is problematic. Straightforwardly, she is a strong, dynamic, independent woman, just as tough and smart as the men. She’s clearly an essential part of the team, and indeed a senior member until Hunt comes along. She contributes ideas, plays her part in the mission, kicks ass and fires guns when she needs to. Even when her part is a honey trap, the temptation is clearly a means to an end and she beats the information out of her target rather than seducing it. But as is so often the case with women in “men’s” roles, Carter is “punished”, suffering for perhaps her temerity to enter a man’s world.
It is interesting, however, specifically why Carter suffers. In an early scene, we learn that she was team leader and one of her agents was killed. It is tempting to read her relationship with the downed agent as romantic, but there is equal evidence that it was comradeship, professional partners. Carter’s guilt rides through the whole film, forming her arc as she must come to terms with having lost someone in her command. When she captures the killer of her agent, she warns her colleagues that she must be kept away from the prisoner or will kill them, and in an altercation with the prisoner is clearly driven by violent rage, while Hunt himself remains cool, calm and collected. The mission is later jeopardised by Carter’s loss of emotional control, and in her self-blaming state, she turns to alcohol, but is stopped by Hunt who gets her back on track. So the film’s gender politics can be read as a woman being disciplined by a man who knows how this works.
Conversely, the politics can be read in terms of seniority – Cruise looks his age of late forties and it makes sense that he be schooling his less-experienced colleagues. In addition, it is likely that were Carter male, he would experience the same guilt, same loss of control, violence, and probably turn to drink. Carter is even shot during a gun battle and must grit her teeth through the pain, waiting for the crucial moment when all four agents work together to accomplish the mission. So Carter’s gender is less relevant to her character arc than her professional placement as a highly trained agent who is dealing with problems experienced in the line of duty. But the very fact that her problems would be typical for a male character is demonstrative of patriarchal hegemony. As contemporary, and indeed historical, white male hegemony has a cultural position of the “norm”, to have a woman in Carter’s situation, but to regard the issues as the same for a woman and a man, posits these issues as basic, fundamental, human, without consideration of whether it is different for a woman or a man. Therefore, woman becomes assimilated into the male norm and gender difference is erased.
It is hard to posit that Carter’s gender is actually erased, especially since she is presented as an object of desire for the male gaze and somewhat fetishised, particularly in the film’s Mumbai sequence when she wears a revealing dress and later changes in the car. So the film’s gender representation remains uncertain and uncomfortable. Carter ticks a number of boxes by being the token female character, also of mixed racial background, aesthetically pleasing but still a rounded character with a definite arc. But her characterisation can be largely defined within patriarchal parameters, making it questionable whether she’s really a woman, or more a male agent in drag.