Women & Hollywood's Melissa Silverstein took a look at two pieces: the Actress Salary Report by The Hollywood Reporter and Box Office Of the '00s: The Top Grossing Female Films on IndieWire. Here's what she found:

• Of the 241 films in the last decade that have grossed over $100 million, only five of them are directed by women. (Twilight, What Women Want, The Proposal, Mamma Mia, Something's Gotta Give. Julie & Julia made just under $100 million with $94,125,426.)
• "Only 31 films directed or co-directed by women grossed over $20 million.  Over 1,000 films directed by men did the same."
• The list of the top earning actresses? All white, and (mostly) the same old faces: Julia Roberts, Katharine Heigl, Cameron Diaz, Reese Witherspoon, Kate Hudson, Sandra Bullock, Meryl Streep, Amy Adams, Rachel McAdams and, of course, Jennifer Aniston. (Silverstein writes, "I expect to see more boring romantic comedies from her for another 10 years.")

Some of the women on this list are great; many of the women on this list have made flicks (marketed to women) that looked terrible (The Ugly Truth? All About Steve?). But since we know that women buy 50% of all movie tickets, how do we get better product — or at least, quality, profitable product out there?

Keeping the list of successes and the actresses in mind, expect to see, very shortly: A musical romantic comedy about a vampire chef who can't decide if she wants to propose to her werewolf boyfriend. Starring Meryl Streep as the demanding restaurant owner; Julia Roberts as the FBI agent who suspects too much; Sandra Bullock as the Vampire Queen, Cameron Diaz as the health inspector, suspicious of the "special ingredient" in the vampire chef's delectable meals; Jennifer Aniston as the food critic; Reese Witherspoon, Amy Adams and Rachel McAdams as the chef's bffs/potential bridesmaids. With any luck, [insert your favorite vastly underused actress here] could play the chef, in the role of a lifetime.

Women, Hollywood and Money [Women & Hollywood]
Actress Salary Report [The Hollywood Reporter]
B.O. of the ‘00s: The Top Grossing Female Helmed Films [IndieWire]

I confess! It was a thoroughly enjoyable experience.

This despite the fact that it was a cold, rainy night in New York, and we had to wait outside. (Our wait was made slightly more tolerable by the doling out of wristbands and Mardi Gras beads… It's hard not to get excited when you start getting swag right away!)

Once inside the lobby, we were informed no cameras were allowed, so there was a line of people who had to check them at the door. (My shots are with an iPhone.) But upstairs in the stunningly gorgeous Ziegfeld theater, the mood was lively, excited: From where I sat (with my brother and mother) I could see at least five or six little black girls wearing tiaras; when I turned around I noticed that they were everywhere. It was obvious that large groups of friends and families — moms, dads, sisters, brothers, aunts, cousins — had made a night of it. And everyone had to get the special popcorn/soda combo with the collectible cup.

When the lights went down, I was ready to be focused, objective, critical. But the truth is this: The story swept me away. The movie is Disney at its best: fun, funny, but with a lot of heart, and a message. The animation is sublime — a dream sequence Tiana has stands out as being especially dazzling — and the characters are vibrant and lovable. As an audience, we experienced joy, laughter, sadness and satisfaction. Even the character I was most worried about — the firefly with poor dental care — turned out to be hilarious, charismatic and charming. What his teeth say to kids about the bayou, I don't know. I do know that I was moved, when I didn't think I would be, laughed more than I thought I would, and came away feeling, well, happy. That's what Disney does, isn't it?

After the movie, even organizers held an "Ultimate Disney Exprience" event at the Roseland Ballroom, which had been transformed into a "bayou." Standing around on little platforms were all of the Disney princesses… and Tiana was in the center, on a stage. Watching little girls line up to take their picture with Cinderella, Jasmine, Ariel, Belle, Pocahantas, Snow White, Sleeping Beauty, Mulan and Tiana, I was reminded of the huge impact Disney has on children. Many of the kids there weren't even born when the most recent "princess" movie, Mulan, hit the screen. ( Snow White came out in 1937.) Children and parents snapped pictures, gushed over costumes and generally looked thrilled to "meet" all of the "princesses" who, obviously, are well-trained actresses. They're even schooled in what to say when a thirty-something single man with zero kids is giddy to take a picture with them — my brother had his photo snapped with every single princess.

But the best part, for me, was all the little girls playing dress-up. As you can see, the one in the photograph above already had the official dress, as well as a crown. Her name was Tiana, too, and it was clear that she — and her mother — were having a night they would never forget. For me, that makes it a success, whether the movie ends up a box-office smash or not. But whatever cash Disney doesn't make in theaters, I'm betting it will make in merchandise: One dad — after buying a dress, CD soundtrack and rhinestone tiara at the little gift shop in the lobby — asked the clerk, "What else ya got?"

Earlier: Do Disney Princesses Provide "Thinspiration" For Little Girls?
Writer: Disney's Frog Flick "Capitalizes" On Obama Family
The Princess And The Frog Is Full Of Magic
Cue The Singing & Dancing: Disney's Black Princess Arrives At Themepark
11 Cool Things From The Princess And The Frog
5 Possible Problems With The Princess And The Frog
How About An Animated Movie With A Female Lead Who Isn't A Princess?
About That Princess And The Frog Spoiler…
Disney's First Black Princess Is A Little Green
An Early Look At Characters From Disney's Black Princess Movie
Why Has It Taken So Long For Disney To Create A Black Princess?
The Princess And The Frog
Why Is Disney's First Black Princess Such A Challenge?

The Hollywood Reporter's Roger Friedman, who previously was up in arms when The Gotham Awards ignored Precious (only to have its rival Independent Spirit Awards lavish the movie with attention), is now enraged with the NBR for not putting Precious in its top ten.

What's most upsetting this year: the absence of Lee Daniels‘ Precious. It's not a total surprise. The NBR is not a multicultural organization. They completely ignored Dreamgirls in 2006. Snubbing Precious fits in with Schulhof's track record perfectly. Let's just say it: They do not like black movies, period. To make up for it, they threw Gabby Sidibe a bone with Breakthrough Performance. This is what they did to Jennifer Hudson from Dreamgirls. It's pathetic. But the Oscars remedied this. She wound up winning Best Supporting Actress at the Oscars.

The NBR may well be, as Friedman argues, a "scandal-plagued freak show composed of wealthy fans and no actual reviewers," but it's a bit unfair to say they "do not like black movies period," at least judging by this year's list, which also includes Good Hair among the best documentaries and the Nelson Mandela biopic Invictus in its top ten. And African-American actor Anthony Mackie had a brilliant starring turn in NBR top-tenner The Hurt Locker, though his role was not as prominent as that of his colleague Jeremy Renner, who got a breakthrough actor award.

It's also unclear if any of this matters beyond these particular nods. Over at the Los Angeles Times' Gold Derby blog, Tom O'Neil points out that the NBR isn't always the Oscar predictor it's said to be. Quite the opposite, sometimes — their frequent favorites, Clint Eastwood and George Clooney, subsequently were passed over for Oscars, and they also ignored two more commercial Best Picture Oscar winners (A Beautiful Mind, The Lord of the Rings).

Also, who needs any of this stuff when you have Barbara Bush's endorsement?

Up In the Air Wins National Board of Review [EW.com]
"Precious" Scandal: National Board of Review Disgraces Itself [The Hollywood Reporter]
National Board of Review goes crazy for Clooney and Clint again ... Will disaster follow at the Oscars? [Gold Derby/LAT]
Barbara Bush: A Precious Moment [Newsweek]

I decided to ask a few professionals. Raves and nominations notwithstanding, as casting director Mark Bennett (The Hurt Locker, Junebug) puts it when asked for his professional opinion, "Unfortunately Hollywood is still a system that doesn't produce a lot of great parts for black women and doesn't produce a lot of parts for women who aren't conventionally beautiful. And that's not going to change overnight."

In a piece last month on The Root, cultural critic Stanley Crouch was outright pessimistic:

"Gabby Sidibe better enjoy her fame while she can because black actresses never have less than a hard row to hoe. Even if the inner life they bring to characters is as beautiful as they are physically, they have little chance."

Crouch cited several black actresses whose careers were, as he puts it, "pissed away by the system," and argues that even with Precious's success, at the end of the day, "Hollywood will continue to go along as it has gone." And he didn't even touch on the fact that Hollywood has had little use for any women larger than a size zero.

So far, Sidibe has shot a pilot for Showtime – The C Word, a dark comedy starring Laura Linney – and also wrapped a Sundance lab film called Yelling to the Sky. But her most significant post-Precious performance has probably been on the talk show circuit.

The greatest risk Sidibe initially faced was best articulated (inadvertently) by Roger Ebert in his November 4 Chicago Sun Times review of Precious:

"Her work is still another demonstration of the mystery of some actors, who evoke feelings in ways beyond words and techniques. She so completely creates the Precious character that you rather wonder if she's very much like her."

You can wonder, but the answer is no. "It's called acting," her manager, Jill Kaplan, says. Sidibe herself has skillfully, but seemingly effortlessly, put space between her character and herself with her television appearances, which exhibit both poise and comic timing.

"When you see her being interviewed, she's so charming. You look at her and say, I'd like to watch her in other parts so you can see her acting different personalities," says Bennett.

Both Bennett and Billy Hopkins, the casting agent who co-discovered Sidibe at an open casting call (and Precious director Lee Daniels' former partner), point out that cable television offers a far greater range and depth of roles for actresses. And they both speculate that she'd make a good talk show host. (An appealing, if entirely premature, prospect).

Hopkins sounds determinedly optimistic about Hollywood's receptiveness to an actress like Sidibe. "Is she a hard type to cast? Yes. But is she talented? Yes. So I think those will balance each other out," he says.

Eyde Belasco, who cast Sidibe in Yelling To The Sky and has worked on movies like (500) Days of Summer and Half Nelson, writes in an email that her own choice had "very little to do with her look and everything to do with her amazing acting abilities." She adds, "I think the best types of roles for Gabby going forward, to keep her from being typecast, are ones that are not linked to her look. Maybe it's about taking on a great supporting role (such as her role in Yelling To She Sky) that has very little to do with her physical appearance and all to do with her performance. If an actor can afford to do it, it's about waiting for the right role. Gabby does have a very specific look. But, hopefully, filmmakers and casting directors will want the best actress for the role."

It can be hard to get insiders to discuss industry prejudices on the record, but that doesn't mean they don't exist. "Hollywood tends to think of actors like Gabby as being perfect as a white person's friend. She'll have to work really hard to distinguish herself in their eyes," says Bennett. "The soft prejudice that she's going to face is going to be getting cast in parts that aren't written for a black girl. At the end of the day, I find there's a certain risk aversion in terms of Hollywood casting. It wouldn't surprise me if she finds her most fulfilling professional opportunities in the coming years outside of Hollywood."

Bennett's advice to her is not to wait to pursue the parts she wants: "It's a mistake for actors to sit around and assume that Hollywood as a monolith will have imagination. Actors have to insist on what they're capable of."

Kaplan, Sidibe's manager, is reluctant, for obvious reasons, to have the actress pigeonholed or even discuss that risk. She says Sidibe has gotten all kinds of scripts sent her way. "It doesn't have to be about changing Hollywood's ideals – it's just about a talented actress," she says.

She adds, "I think she can do anything. She's a prodigy – she's very funny. She really loves Judd Apatow movies and comedies in general. We're looking for a big fun comedy for her, or maybe something romantic…She loves superhero movies."

Speaking of Apatow and comedies, I tracked down Allison Jones, the casting director who has worked with him since Freaks and Geeks, and who was also responsible for the inarguably inspired casting on Curb Your Enthusiasm and The Office. Here's what she writes:

A good comedy director I think values instincts more than line readings...so if her comedy instincts are as solid as her dramatic ones (on talk shows she is a riot and so delightful), then she will have no problem... Someone's funny, she's funny. Someone's good, she's good. [In addition] as much as anyone's physical appearance can limit their appropriateness for a role (including the stick-thin actresses), she will not be right for everything. But maybe there are more opportunities out there rather than fewer.

Hopefully those opportunities will exceed the comic roles that the industry has so far offered larger black women (or men pretending to be them)—where their sexuality is a punchline in itself.

As the awards season kicks off, Sidibe's name is already on many ballots — she was just nominated for an Independent Spirit Award for best actress — and expected to be on more, including those for the Oscars (announced February 3). And maybe that's what it'll take to clinch her broader appeal, should anyone need convincing. Kaplan doesn't want to make predictions. "I can't say what's going to happen," she says. "I'm definitely trying. I'm working on it right now. People are going to see outside the box."

Hollywood: Same As It Ever Was [The Root]

Related: Et Tu, Amy Poehler? What's So Funny About Desiring A Big, Black Woman? [What Tami Said]
Sumpin' Turrrrble: SNL's Keenan Thompson Performs Minstrel Act [Racialicious]

He writes:

…Why has Disney brought out a black princess now? It's not as if the black population of the world has suddenly increased in size or spending power to attract its attention. No, it is sheer, commercial opportunism on the part of Disney.

And:

"…The high-profile nature of President Obama and his First Lady means that this princess is being launched against a heightened consumer awareness of the dreams of black people coming true and it will receive lots of press coverage."

Now, Mitchell is a professor at Cass Business School in London. So he's looking at this from a business perspective. But the concept of The Princess And The Frog — originally titled The Frog Princess — had been kicking around at Disney/Pixar since at least 2006. In fact, the decision to put Randy Newman in charge of the music of the film was made in November 2006; casting for voices started in December 2006. Barack Obama was sworn in as a Senator the previous year. It doesn't quite add up. Plus, Disney's first princess, Snow White, was "born" in 1937. So the question shouldn't be "why now" but "why so late?" Why, for an all-American movie company, does the black princess come after an Asian princess and a Middle Eastern princess?

Is Disney interested in making money? Clearly. But the company is also interested in telling interesting stories, and a fairy-tale set in America, with black characters, qualifies. Even more troubling is this, from Mitchell:

With the increasing rise of successful black American women - think Tina Turner strutting her stuff at 70, Whitney Houston's recent comeback, the Oprah phenomenon and now Michelle Obama all being seen as "princesses" in their different ways - the aspirations of black American women to transform themselves have never been higher.

Really? black American women aspire to "transform themselves"? From what? Into what? This man writes as though every black American woman is living a gangster life in a ghetto, dreaming of being Princess Michelle Obama. There are millions of successful black women in this country, with millions of different journeys. Ms. Obama is not the sole role model black women have. Plus, she is admired by women of all colors. And if any black woman "aspires" to "transform," what the hell do Tina Turner and Whitney Houston have to do with it?

Upon showing parts of this article to Anna, she declared over IM:

"Heightened consumer awareness of the dreams of black people" is the stupidest thing I've read in a long time.

I can't agree more. If you want to argue that black Americans are being covered more by the media, I'd say duh; our president — and his race for office — did call a lot of attention to "being black in America" and resulted in lots of articles about How Black People Live Today and Who Black People Really Are and What Black People Want. But consumer awareness of dreams? The black experience is not a monolith; not a product. Dreams vary, and ONE black Disney character doesn't — and isn't meant to — represent them all.

Don't worry, though, Mitchell expects that any excitement about black people will pass:

Tiana is likely to be a niche as opposed to a mass market product in the long term. So, just as black American first ladies have a finite period of office, so, too, will Tiana.

Look, admittedly I have not seen the film, but it's so dismissive to think of this project as "niche" because it's a black princess. Time will tell, of course, but it's upsetting to assume that mass-market = white. Was The Cosby Show niche? Is Oprah niche? Is Beyoncé niche? Is the wise Latina known as Dora The Explorer niche?

But you know, arguing about Mitchell's ridiculous essay is pointless, really — the man is OBVIOUSLY a little… off. To wit:

…Depending on how many hearts she wins over, someone is bound to make the connection between Princess Tiana and Princess Diana, which will resonate even more strongly with consumers and give the character an added dimension of stardom.

Yeah…no.

Disney Cashes In On Obama Era With Princess Tiana [Times Of London]

Earlier: 11 Cool Things From The Princess And The Frog
5 Possible Problems With The Princess And The Frog
How About An Animated Movie With A Female Lead Who Isn't A Princess?
About That Princess And The Frog Spoiler…
Disney's First Black Princess Is A Little Green
An Early Look At Characters From Disney's Black Princess Movie
Why Has It Taken So Long For Disney To Create A Black Princess?
The Princess And The Frog
Why Is Disney's First Black Princess Such A Challenge?

Variety reports that Princess Tiana-oriented merchandise is outselling other Disney Princess-branded items by double digits. (Disney hasn't had a new princess-like character since Mulan in 1998.)

The LA Times spoke to The Disney animation team of Ron Clements and John Musker — who wrote and directed the The Little Mermaid and Aladdin — about the first animated African-American Disney heroine (who has an interracial relationship!)

Clements explains:

"Disney has actually been interested in the Frog Prince all the way back to Beauty and the Beast. They never got a version they were totally happy with. Weirdly enough, Pixar had been developing versions and they never got quite a version they were happy with. Their version actually started in Chicago and then moved to New Orleans partly because that is John Lasseter's favorite city in the world. Even more recently, Disney bought the rights to a book called The Frog Princess by an author called E.D. Baker and that was a twist on the fairy tale… We took elements actually from everything and came up with our version, which is basically an American fairy tale set in New Orleans in the 1920s."

The Princess and The Frog is family-friendly fare, but considering the fact that Precious broke records for an indie flick (and continues to see strong numbers as it goes nationwide) and New Moon broke a box office record set by The Dark Knight, Hollywood should be learning that women are not to be ignored.

"New Moon explodes the myth… that fanboys hold all the power," Pamela McClintock writes for Variety. Last year seemed to be the year of the dick flick, but with major successes from Julie & Julia, New Moon and Precious (keep in mind that New Moon's opening weekend beat Transformers, X-Men Origins: WolverineTransformers and Star Trek), the message is clear: Women buy movie tickets, and we're interested in great stories with women in the lead roles. And! Fangirls should be taken seriously. As Women & Hollywood's Melissa Silverstein writes for The Huffington Post:

Women accounted for 80% of the New Moonticket buyers; and [the audience was] divided evenly between women under and over 21. …There is an audience out there hungry to see films that appeal to them. I'm not trying to say that all women's films will be as successful as New Moon because that's silly. These kinds of movies come along rarely cause Hollywood hardly makes them. But this weekend's number indicate that they should make more of them.

'New Moon' Shines At Box Office, New 'Princess' Lifts Disney [Variety]
New Moon Brings a New Dawn in Hollywood [The Huffington Post]
Q & A With 'Princess And The Frog' Animators [LA Times]
Anika Noni Rose In Disney's 'The Princess and the Frog'; 'Dreamgirl's' Latest Role Is History Making [NY Daily News]
A Frog Of A Different Color [Newsweek]

Why was I even there? I think the books are dumb, and I hated the first film. Well, first of all, I felt like it was my duty, since I did it last year. Second of all, as an amateur anthropologist, dilettante and pop culture junkie, I feel required to keep up with the zeitgeist. Plus, maybe the new director (Chris Weitz) would improve the feel of the film? Last but not least, two words: Buff Werewolf.

So there I was, scooting through the rain in downtown Manhattan to a theater where the line went out of the lobby and wrapped around itself into a weird storage area where ladders were lying on the floor.

As my friend Workhorse and I settled into the line, the young lady in front of us assessed the wait and proclaimed, "I should have brought my computer, I could have done my homework."

"We're the oldest ones here," Workhorse whispered to me. It was mostly true: teens and twenty-somethings lined the walls of the waiting room. Workhorse and I are firmly entrenched in our 30s. When we did see one older guy, he had a young girl with braces with him. Daughter? Niece? Neither of us had that excuse.

"This movie is romantic," I warned Workhorse. "Are you going to cry?"
"I might cover my eyes if it's scary," he replied.
I frowned: "You didn't cover your eyes in the first one."
"I was too busy rolling them."

When we got to our seats I heard the 19-ish girl next to me say to her friend, "I can't believe you haven't read the books!"

I have read the books. Well, the first one, the second one, and half of the third one. I found them hypnotic, yet frustrating: The writing wasn't great and the story dragged; yet I was always curious to know: What happens next?

And such is New Moon. The filmmakers claimed they wanted to keep the movie close to the books, and they did: It is SO SLOW. The story drags. The drama in the first few minutes — when Bella gets a paper cut in front of a pack of vamps — is only mildly interesting; there's something off in the way she holds up her bloody finger and announces she's been cut — it's just so obvious, lacking in finesse or subtlety. Also: When you get a paper cut, don't you just automatically put you finger in your mouth? Jeez.

Anyway, next, Edward the Sparkle Vamp promptly breaks up with Bella (the girl next to me cried a little.) And then, for a long time, nothing happens. Bella mopes, has nightmares, goes through the motions. In the film, there's a montage to indicate that October, November and December pass while she is catatonic from misery, and it felt almost like her mourning process was happening in real time. IT WAS TEDIOUS. Plus, every time she interacted with the long-haired, fully clothed Buff Werewolf, all I could think was, "CUT YOUR HAIR AND TAKE YOUR SHIRT OFF AND GET THIS MOVIE STARTED." More naked werewolves, less of the morose girl.

Through the film, Bella is narrating in a voiceover, but the conceit is that she is writing to her vampire friend Alice. Every scene without dialog begins, "Alice." and then "I am blah blah blah." If you play a drinking game when you go see this movie, drink every time she says "Alice" and you'll be wasted an hour in.

Time went by. The movie started at 12:20 and Bella didn't piece together that the werewolf is a werewolf until almost 2am. Her relationship with Jacob the Buff Werewolf is actually really sweet, and he seems like a better choice for her than brooding Edward, but that's just me. (Team Jacob?) The biggest problem is that Bella is a crappy heroine. She doesn't enunciate, she's incredibly passive, and I'm pretty sure she's codependent.

There were a few moments when the Buff Werewolf's dilemma — going through something and not being able to tell anyone — seemed like a metaphor for coming out of the closet, but that was probably just me trying to make things more interesting.

I laughed when Bella took VIRGIN airways to Italy; and the visuals of her running through the Little Red Riding Hood convention were actually really beautiful. And between Bella's friends and father, there are quite a few laughs. Unfortunately, the jokes are sideshows to a sluggish, depressing tale. The movie is bad. It's too long and too boring. Bella lacks the kind of spunky, triumphant joie de vivre I admired so much in Buffy. I know I'm not the target audience for New Moon — but as a woman who loves to get swept up in fantasy, drama, romance, vampires and werewolves, I was really and truly open minded; willing to give it a chance. Alas: For a flick with a lot of fangs, it didn't have much bite.

I did enjoy this:

And this:



But that's about it, so save your twelve bucks.

Earlier: Twilight At Midnight: Smells Like Teen Spirit

According to the Box Office Mojo charts, 2012 took first place at the box office with $65 million, but was in just over 3,000 theaters. Precious made $6 million and was only in 174 theaters — which means its average per theater — $35,000 — is higher than 2012's $19,000 average.

Kudos go not only to the cast of Precious and director Lee Daniels, but to Sarah Siegel-Magness and her husband, Gary Magness, novice film investors who put up about $12 million to finance the movie. "No way, no studio would make a film about an overweight black girl," Lee Daniels tells the Wall Street Journal. Ms. Siegel-Magness says: "When I began to get outside counseling from Hollywood about what we had done, people were mortified… They told us we should have instead invested in this or that fund to make 11 different movies, that we were crazy for financing an African-American movie about incest." Since Precious has already grossed almost $9 million and hasn't gone nationwide yet, these "angel" investors certainly made a smart choice.

But despite financial achievements, Precious still faces some obstacles:
Though the movie will expand to 800-1,200 screens this weekend, sparkly vampire juggernaut New Moon will be in theaters as well, and will most likely crush the indie film in ticket sales.

Plus, there are some who still have criticism for the film: In a piece for the Washington Post, Malika Saada Saar writes:

I cannot recall another opportunity raised by popular culture that invited us to thoughtfully address the largely hidden issues of incest, violence and girls at the margins. As the executive director of a national organization that works to raise awareness about and to reduce violence against vulnerable women and girls, I am moved and grateful that attention is finally being paid to our forgotten girls.

But this movie is in many ways a fairy tale. The character Precious gets to be saved by a caring caseworker and a loving teacher. In real life, poor, undereducated and sexually victimized girls are most likely to end up in the juvenile justice system.

Still, at least the movie has people talking about "precious girls," living in the margins. And Saar does find promise in the film: "I hope that Lee Daniels's movie will change how girls at the margins are treated. Maybe, at long last, they will be considered precious girls — who deserve love, safety and healing. I hope this because right now, these precious girls everywhere are denied the happy endings of Hollywood movies. "

Box Office Haul: ‘2012' Wins, ‘Precious' Surges 200%, ‘This Is It' Sinks [BlackBook]
Weekend Studio Estimates [Box Office Mojo]
'Precious' Girls Without A Happy Ending [WaPo]
Novice Film 'Angels' Took Leap of Faith With 'Precious' [WSJ]
‘2012' Opening Earns $65 Million [NY Times]

Fade in. Ms. Gaga, ever the generous host, is just chilling with her minions, listening to music.

She is wearing her razor-blade sunglasses, because a girl can never be too careful. The world assaults us with images! We must fight back! (Or, as she told MTV News: "I wanted to design a pair for some of the toughest chicks and some of my girlfriends - don't do this at home! - they used to keep razor blades in the side of their mouths… That tough female spirit is something that I want to project. It's meant to be, 'This is my shield, this is my weapon, this is my inner sense of fame, this is my monster.") I certainly hope you're taking notes.

FYI: Motherboard, barbed wire or fine screen door mesh manicures are the new hot shit. Adjust accordingly.

Suddenly, there's a flash of light.

A room! With Ukranian vodka! This must be a dream. Or a nightmare?

Coffin-like pods line the floor. Note the one which reads "Monster," as therein lies our heroine.

By the way: Since The Lady refers to her creative team as the Haus of Gaga, this scenario, naturally, takes place in the Bath Haus of Gaga.

The Lady emerges, wrapped up for freshness.

It's important to loosen up the joints and muscles after being transported — nay, kidnapped — into a questionable dimension. Working out with friends keeps you motivated.

Speeding through a hole in the time/space continuum often leaves a layer of grime. Bathing is a must.

Here, her eyes are wide with knowledge, not fear: She is a captive!

Product placement! Did you know that Dr. Dre, who has his own Beats By Dre headphones, worked with The Lady to make Heartbeats by Lady Gaga?

Back to the story: Gaga is ripped from the bath by her captors.

She is really just an innocent young thing, what could they possibly want with her?

Well, first they'd like to strip her of her latex garments…

…Then they'd like to force imported vodka down her throat. The usual Tuesday night stuff.

Fueled by liquor, Gaga is trussed up in a sparkly ensemble, robbed of her Burberry overcoat and forced to dance.

So many male bidders, so little time!

The Man With The Gold Chin Strap takes an interest in Ms. Gaga. Gold+Man= Goldman? As in Goldman Sachs? Is Gaga part of the bailout package?

Her brain aches; she must make a choice. She can flee. Sure. But she can also stay and dance her ass off, use this man the way he wants to use her. She could really, really use the money, you see…

…She's got a little problem with her spine. And Oxford won't cover the surgery.

So she dances. She seduces him because she has to. And because she can.

According to The Woman's Dictionary Of Symbols & Sacred Objects, the bond between cats and women has always been strong. There was a time that the patriarchy, suspicious of this connection, would accuse any woman seen talking to or petting a cat of witchcraft. Cats were sacred to the Ancient Egyptians, and festivals for the the cat goddess Bast were huge. The Norse goddess Freya rode in a chariot drawn by cats, and felines were generally thought to be magic. So save your shaved pussy jokes until the end.

Oooh, looky! Our favorite ankle-snapping Alexander McQueen shoes from his Spring 2010 show in paris. You know, the Futuristic Interplanetary Mutant Alien Queen one. Not Derelicte In Wonderland… that's so Fall 2009.

If you saw the McQueen ensembles and thought to yourself, "Who wears that? Now you know.

Anyway: Gaga drags herself and her bear carcass peignoir to do what she knows she must do.

Mr. Goldman awaits, hand creeping toward his stimulus package.

He'd like to see what he's purchased.

She's happy to oblige.

But! Little does he know — she has power, strength, and can, like a young Drew Barrymore, start fires with her mind.

(See, she has already informed the others that there will be a revolt! That's where the red and the leather come in: Viva La Revolucion!)

Yes, the bed is aflame. Fire can be symbolic of passion, but in this case, she is using it as a weapon, to destroy her enemy.

In the end, her sparkbra is saved, but Mr. Goldman? He is merely a charred skeleton.

The moral: Buy flame-retardant lingerie.

Here's the video clip, sans commentary. Enjoy.

Lady Gaga Says 'Bad Romance' Video Is About 'Tough Female Spirit' [MTV News]
Bad Romance Exclusive Premiere [Facebook]
Lady Gaga Bad Romance [YouTube]

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The Killer Inside Me is set for release in 2010; its five minute trailer promo gives away a good chunk of the plot, which seems to involve quite a lot of graphic violence against women. This isn't particularly surprising, considering the long-standing media fascination with sex crimes, and the rising acceptance of rape scenes on prime time television (we're particularly reminded of the Last House on the Left trailer, which clearly showed a very young actress being raped). However, the level of violence shown in the clip is striking, and given the context, quite disturbing.

The film is based on a 1952 novel by the same name by writer Jim Thompson. According to Wikipedia, the novel centers around a young deputy sheriff living in a small town in western Texas, who has always felt the presence of some sort of "dark rider," to use the Dexter-terminology. Lou Ford is a sadistic monster, but he generally keeps his sociopathic tendencies under wraps (except for that one time when he sexually abused a young girl as a teen). As an adult, Ford takes up with a prostitute, in an apparently consensual sadomasochistic relationship that ends in her death. He then attempts to cover her murder by embarking on a series of killings, which ultimately ends up exposing his "sickness" to the world.

Judging by the clip, director Micheal Winterbottom has decided to stay pretty close to the source material. It's clear that Ford is a fucked up dude, who escalates from isolated acts of torture to beating his lover until her face is memorably described as "stewed meat, hamburger." Gwen from Sociological Images writes:

Clearly, Casey Affleck's character is a sadistic asshole (the cigar on the guy's hand), but in the promo, at least, the graphic, sexualized violence is reserved for women…who also appear to like it, at least for a while. Jessica Alba gives in to him, and apparently starts a relationship with him, after he pulls her pants down and whips her. Perhaps that's because she's a prostitute; of course she'd like a dominant man who plays rough, right?

The thing is, you could make this movie and tell the same story without actually showing all the violence in such a graphic way. Movies imply things all the time. It's a choice to show this type of violence toward women as a form of entertainment…and to show the women liking it.

Full disclosure: I'm a horror movie fanatic, and I generally don't shy away from violence on film. I have no problem with Tarantino, and I've seen more of the Saw franchise than I'd like to admit. And yet, Gwen's final comments hit the nail on the head as to why this is particularly bothersome. Not only do we get a truly horrific glimpse of Jessica Alba's face after she's been beaten to death, but we also see the start of their relationship, which begins with a beating, followed immediately by passionate, consensual sex.

It's this series of events that bothers me. Less than a minute in, we see him carry a screaming Jessica Alba to the bed, where he turns her over and whips her with his belt while she screams in pain. Suddenly, something changes - he's no longer an abuser, but a lover. Now, there is nothing wrong with enjoying some healthy, consensual BDSM, but those relationships don't start out as a brutal attack. As far as I can tell, it appears that the first time these two characters meet, he begins to act out his violent fantasies upon her, but it's turns out O.K. (for awhile), because she likes it! This is a dangerous way of approaching sexual violence, for although she may be enjoying the spanking, it is clear that she is never in control. And this is the main problem with portraying rape fantasies and BDSM sex: If there is no discussion of power-play, it just ends up sending the message that women like rape or want to be beaten. Furthermore, Lou Ford's penchant for violence is explained away simply as a "sickness," which, while it may be good for the plot, glosses over the prevalence of rape culture. In making this an illness, particular to one individual, the movie is able to dabble in the same tropes that we see over and over again, and exploit the thrill of watching violence against women, without touching the greater issues at play. So unless Winterbottom is willing to delve into the dynamics of consent/control, The Killer Inside Me will be no better than a snuff film.

"The Killer Inside Me" Promo [Sociological Images]
The Killer Inside Me (Novel) [Wikipedia]
The Killer Inside Me [IMDB]

As Women & Hollywood's Melissa Silverstein writes:

It made $1.8 million dollars on a total of 18 screens.  That is an average of $100,000 per screen which never, ever happens. A little perspective.  Michael Jackson's movie This is It opened to 6,675 per screen average.  Harry Potter and the Half Blood Prince opened at 17,997 per screen.  Granted people had a lot more places to see both movies and both grossed more for the weekend, but Precious' debut is unprecedented. The only movies to open over $100,000 per screen were Dreamgirls and Brokeback Mountain. 

Variety's Pamela McClintock echoes: "That's the best gross ever for a film opening in fewer than 100 theaters."

Entertainment Weekly's Dave Karger notes that the numbers are "an amazing achievement," especially "considering all of this was accomplished by a film by a relatively new director with no big movie stars in it."

Though the movie is expected to have great word-of-mouth, at least one critic feels it doesn't send the right message. Newsweek's Raina Kelley writes:

I'm tired of movies presenting black people as grateful to find a helping hand to rise above their abusers. Not because we've seen this movie before-starring Sidney Poitier, Michelle Pfeiffer, Hilary Swank, Morgan Freeman, and even Matthew Perry-but because the story never changes. Where's the African-American Norma Rae or Silkwood?

A good point — but maybe the success of Precious will open doors for other films about the black experience? And for the stories of all different types of women?

Precious Kills at the Box Office [Women & Hollywood]
'Precious' On Path To Indie Success, 'Carol' In Tune With Box Office; 'Precious' A Gem With Hot Specialty Tallies [Variety]
The Problem With 'Precious' [Newsweek]
'Precious' Lives Up To The Hype [EW]

Hope was the last thing I was expecting when I delved into the story. Foremost on my mind was a Racialicous post from January, "Reveling in Bleakness," an essay that digs into the issues surrounding Push/black literature in mainstream culture; furthermore, any online discussion of Precious, was followed by mention of writer Percival Everett's book Erasure, a literary response to Push published in 2001. In short, all initial discussion of the book and the movie was a race and class-related cacophony, and I hadn't even opened a page.

I settled in for what I thought would be an extremely painful and devastating read...or, worse, something so disgusting and exploitative that I would reject it outright as poverty pimping. Instead, I fell headlong into the alternately horrific and hilarious world of Precious Jones, a world that felt simultaneously familiar and alien. Precious' rapid fire thoughts, and casual allegiance to Louis Farrakhan and the Nation of Islam are fascinating, as is her openness to the world, even as she is limited by her life's circumstances. I understand the impulse to cringe at her story, painted as it is with dysfunction and pain (the graphic depictions of sexual and physical violence aren't for the faint of heart). But again, I read the novel dry-eyed. Perhaps I didn't have any tears left to shed for Precious. I've been holding in the secrets of others for years - and although the circumstances described in Push are extreme, they're not unimaginable. I smiled when I closed the book.

The next day, I hopped on the train to NYC to catch a screening of the film adaptation. Again, I prepared for a devastation that did not materialize. I did break down - especially during Mary's final monologue - but I spent a lot more of the movie laughing along with the title character (sometimes, life is so fucked up it moves into the absurd, which is what happens in Precious.; but the abject misery of the dank apartment Precious shares with her sadistic mother is mitigated by many other scenes, especially those of Precious' fellow students reclaiming their lives and their narratives).

My favorite character, outside of Precious, is Joanne. Actress Xosha Roquemore clearly evokes the spirit of Remy Ma and drops her into the 1980s. I died laughing at her empathy and warmth, undercut with flourishes of hard posturing.

The film does many things well, starting with the Susan L. Taylor cameo as the fairy godmother who opens the film's first fantasy sequence. Daniels is able to capture the horror of what happens to Precious without glamorizing the violence, making use of quick cut scenes and strategically placed fantasy sequences to pull both Precious and the viewer away from the acts committed upon her. In addition, Daniels stays fairly true to the book, pulling many lines directly from the pages. In addition, Daniels makes wonderful use of visuals - the laughter-filled, happy scenes with Precious in the hospital, surrounded by friends and a doting vegan nurse (Lenny Kravitz) provide a stark contrast with her return to the brown void with her mother.

Though I would count the film as a success, there is a major stumble that took place when moving the book from page to screen.

Over at Feministing, Rose writes:

A few days remain until Precious debuts across the country on Nov. 6th. The story, originally told by Sapphire through the novel Push, is an ode to negotiating inclusion and exclusion in the media. It's about much more than the New York Times' account: a "Harlem girl raped and impregnated by her abusive father." (That's practically all the ink dedicated to Precious the character despite an accompanying a column that extends for 5 pages.) It's about inclusion and what it says about who is valuable in our society. That's best captured in Push, when Precious explores this:

I am comp'tant. I was comp'tant enough for her [Precious' mother] husband to fuck. She ain' come in here and say, Carl Kenwood Jones—thas wrong! Git off Precious like that! Can't you see Precious is a beautiful chile like white chile in magazines or on toilet paper wrappers. Precious is a blue-eye skinny chile whose hair is long braids, long long braids. Git off Precious fool! It time for Precious to go to the gym like Janet Jackson. It time for Precious hair to braided.(64)

But what I love about the book is that Precious is not a defenseless subject. She is a survivor who resists against her exclusion by striving for her own inclusion. She does this by learning how to read. She then uses her literacy to read about the lives of Black women through writers such as Alice Walker, Ann Petry, Ann McGovern and others. The story ends with her literally penning her own story fully epitomizing the agency she had all along despite sexual trauma and despair.

This is precisely my take. From the beginning of the novel, Precious' voice explodes on the page, providing us with a heroine who may not be the most educated or literate, but has a vibrant inner life. This doesn't exactly translate on screen - Sidibe voices some of Precious' thoughts, but slowly, and nowhere near as many random, flitting ideas are explored in the movie. This omission changes our perception of Precious - in the book, she is bright, quick-witted, and runs a constant narration about the things she has encountered in her world. And once she discovers the alternative school, the reader is excited as Precious is finally given a chance to express what she is thinking - she has a space in which to speak where she is valued, as well as a new method (writing) that unlocked more possibilities for reflection, introspection, and discussions.

In the film, these elements are flattened a bit. I'm aware that books cannot be translated exactly to the screen, but condensing Precious' thoughts removes a lot of her own agency. For example, after Precious acts out in math class and gets into a verbal confrontation with her teacher, Mr. Wicher, she feels some remorse and ruminates on a goal that's slightly out of reach:

I didn't want to hurt him or embarrass him like that you know. But I couldn't let him, anybody, know, page 122 look like page 152, 22, 3, 6, 5 - all the pages look alike to me. 'N I really do want to learn. Everyday I tell myself something gonna happen, some shit like on TV. I'm gonna break through or somebody gonna break through to me - I'm gonna learn, catch up, be normal, change my seat to the front of the class. But again, it has not been that day.

This was on page five. Sapphire establishes her acharacter as wanting something more, knowing there is something more, but not quite understanding how she can reach her goal. The movie makes the classroom scenes closer to a "Freedom Writers" scenario, with Paula Patton veering way too close to the typical "nice white lady" trope.

Ah, Paula Patton.

While I think Patton is gorgeous and talented, I don't think she did the character of Blu Rain justice.

Part of this is not her fault - the character of Blue Rain in the book is considerably darker, with dreadlocks. Now, this may not seem so important on its face. After all, casting makes character changes all the time, right? This shouldn't be this big of a deal.

And it wouldn't, if the character of Precious wasn't so thoroughly indoctrinated with self hatred, displaying her color consciousness throughout the entire book. In Push, after she has her first child, Precious wastes no time in calling an EMT a "spic", quickly revising her opinion of him to use the more respectful term "Spanish" and comment on his "coffee-cream color, good hair" after he comes to her aid. Her nurse in the hospital is described as "butter color" - Precious worships light skinned people in general, whites most of all, believing that if she were white, her life would be better. She says:

My fahver don't see me really. If he did, he would know I was like a white girl, a real person, inside.

Marinate on that for a second. She would be real if she were white.

He would not climb on me from forever and stick his dick in me 'n get me inside on fire, bleed, I bleed then he slap me. Can't he see I am a girl for flowers and thin straw legs and a place in the picture. I been out the picture so long I am used to it. But that don't mean it don't hurt.

In Precious' mind, whiteness is equivalent to being loved, safe, and wanted. The movie briefly touches on this, showing Precious looking in the mirror and seeing a young white girl peering back at her, but this moment is robbed from its potency unless you are exposed to the constant self-hatred throbbing in her brain.

On a broader scale, as many others have noted, the positioning of Paula Patton and Mariah Carey as Precious' light skinned saviors reinforces existing societal ideas - the evil or helpless dark skinned people being uplifted (or punished) by the benevolent light skinned people. The casting serves to help reinforce existing prejudices that we see played out onscreen time and time again.

Even outside of that, Patton's portrayal of Rain did not make me believe that she was someone Precious could trust. That Mad TV sketch I linked to above? That was the scene between Precious and Blu Rain after Precious confesses she is HIV positive. Down to the heavy handed command, "write."

The other moment in the film that radically departs from the book is Mary's final monologue. In the social worker's office, Precious' mother gives voice to what caused her to look the other way when she knew her child was being sexually abused, and gives insight into why she chose to perpetuate this dysfunction. In the book, this speech isn't much of a speech - it's a confession, with Precious cursing her mother out in her head the whole time. And while the sight of the film's monstrous antagonist breaking down and offering to forgo the sacred welfare for a chance to be reunited with her daughter adds to the movie immeasurably, I don't think Mary should have automatically been humanized on principle. If you want the evil mom to be given full representation and humanity, go read the Brief Wondrous Life of Oscar Wao. But here, I think Sapphire deliberately chose not to humanize Mary's character. Why? I believe the answer lies on page 31.

I talk loud but I still don't exist.

In life, the character of Precious Jones is marginalized and invisible, ignored unless someone wishes to do her harm or use her in some way. Her only refuge is her mind, where she keeps herself company. And thus, Sapphire - who revealed a bit of this sentiment in her recent interview with Katie Couric - makes the entire novel about her. It's all about her thoughts, her eyes, her reactions, her perceptions. (The other girls publish their stories in a supplement after Precious' story ends.) And so, shifting the focus to anyone else would ultimately start to overshadow the story of Precious, even for a moment.

There is so much more I could write - perceptions about the film, familial violence, sexual abuse, black stereotyping, the single story conundrum, other critics take's, race and Oscar bait, what I thought about Erasure - but those will have to wait for another day.

Precious [Official Site]

Related: Reveling In Bleakness [Racialicious]
Erasure [Amazon]
The Not-Rape Epidemic [Racialicious]
Precious: Based On The Novel Push By Sapphire [IMDB]
On Representation: Push Versus Precious [Feministing]
Reflections On Lola [The Brief Wondrous Life Of Oscar Wao] (Part 1 of 2) [Racialicious]
Katie Couric Interviews Sapphire [What About Our Daughters]

Earlier: What We Talk About When We Talk About Precious