The following is a guest post by Dr.KennethNoisewater, who you may remember from such logo artwork as our own. Enjoy!
I recently read a fun article at The A.V. Club called “Shitty Miracles,” which refers to projects so stunningly bad one wonders how they were ever greenlighted. The staff of A.V. Club seemed to have so much fun recalling their “favorite” shitty miracles, I thought I’d give it a go myself.
Since “The Room” was mentioned in the Q&A I decided not to discuss it here. Besides, “The Room” is not shitty. It is unbelievably wonderful, a transcendent movie-going experience. If you looked up the phrase “so bad it’s good” in the dictionary, there’d be a picture of Tommy Wiseau winking impishly.
How I felt when I watched the remake of “The Women”
So I’m stuck picking another, erm, winner. And that has to be the 2008 remake of the 1939 classic, “The Women.” Now, the original “Women” is one of my favorite, if not my straight-up favorite film of all time. It is a fast-paced, fast-talking, funny, snarky, silly, feminist (in its own twisted, antiquated way) film about an extremely privileged woman who’s dealing with her beloved husband’s infidelity and her circle of friends’ reaction to her turmoil.
If the original “Women” was sparkly, chilled champagne, the remake is a bottle of Peach Riunite that was left in the sun. It has no bubble, no verve and might make you throw up.
- The casting. It was terrible all-around, but special mention must go to the casting director who’s answer to “Get me a smart, snarky, jaded, single writer” was “I know–Jada Pinkett-Smith!” Not Aisha Tyler. Not Janeane Garafolo. Not Margaret Cho. Jada fucking Pinkett. What’s worse, was that the character was inexplicably made into a lesbian apparently so she could stand around being lesbian and saying lesbianish things like “Hey, that woman who’s banging your husband sure is hot.” I do give the writers credit for not having her wax poetic about trips to the Home Depot, but this movie is such a huge mish-mash of moronic non-sequitors, they probably had to stop somewhere.
- At one point the twiggy tween daughter (who worries about being fat) talks about her father finding her mother’s “coming into her own” sexy. Daughters talking about their mother’s being sexy is dead creepy. Full stop.
- At not one, but two, points in the film, the extraordinarily annoying Sylvia character has over-earnest, goofy, feminist primer sessions with the possibly-more-annoying tween. Feminism is awesome. Talking to young girls about feminism is also awesome. Doing it in a clunky, dated, “where the hell did that come from?” way is not awesome. Oh, and the 1990′s called and it wants its feminist issues back. PLUS, I’m a liberal, not a wingnut. I don’t need my films to be rife with smarmy, obvious propaganda that confirms my worldview.
- The original film nods earnestly–albeit quickly–to the main character’s privilege. And somehow the the time period of the film makes the first world problems of these women seem less irritating. Not so for the remake. Somehow the idea of these thoroughly unappealing women pondering love and loss and how hard it it is for a tough-talking rich woman to get by in the magazine business kind of makes me want to vomit. I simply don’t care. Honestly, the movie would have been better if they had all click-clacked their way in their Manolos–or Jimmy Choos or whatever the hell idiots wear these days– into the middle of the street and had all been run over by trucks. Also, “Sex and the City” wants its…everything… back. (Although, to be fair, SATC was occasionally funny and goodness knows the “Women” remake didn’t steal that from it.)
I don’t know how the film managed take everything that was good about the original film–its crisp dialogue, its amazing cast, its catty humor– and turn it on its head. So instead of a soapy treat about women and their relationships, you get the treat of watching a horribly mis-cast, humorless pile of shit with leaden dialogue and feminist propaganda disguised as a meandering plot.
Feminism is great. I am proudly and rabidly feminist. The most feminist aspect of “The Women” is it that features no men. If you don’t understand the visual and psychological impact of that, you have no business remaking the film.
P.S. : WHAT IS YOUR FAVORITE SHITTY MIRACLE?