- Daisy Kenyon
- Esther Kahn
- Cluny Brown
- Vera Drake
- Sylvia Scarlett
- Lola Montes
- Annie Hall
- Vanina Vanini
- Effi Briest
- Nora Helmer
(Given how poorly Woody Allen's films have been faring with me on revisits, I'm hesitant to select Annie Hall
...but I'll let it stand for now.)
And, just to be comprehensively silly, here's a list of my ten favorite films whose title consists solely of a woman's first name:
- Christine (Alan Clarke)
- Lola (Fassbinder)
I made these lists because of an undocumented feeling that a disproportionate number of my favorite films are named after women. (I can verify that the list of films with men's names that I like at this level is about half the length of the women's list.) And I don't think this is a purely personal preference: I think that the auteurist tradition, which I absorbed as a novice cinephile, leans gynophilic.
The reasons for this leaning strike me as far from feminist. Certainly one notes that naming a film after a woman is akin to objectification.
To speculate further: tradition has ensured that male-centered films have often been about the exercise of power, about creating or altering destiny; and female-centered films have often been about being acted upon, about being at the mercy of larger forces, about destiny altering the protagonist.
It would follow that male-centered films would be more likely vehicles for the audience's power fantasies. Sometimes these fantasies are individualist: commercial cinema always has a prominent place for action-adventure films with powerful, victorious male heroes. Sometimes they are political - and cinema's political movements, which necessarily are built on power fantasies, have different ways of dealing with gender-based power issues. The Soviet cinema, for instance, made an official effort (I'll leave to historians the question of how successful the effort was) to invest women with a mythology of power rather than passivity; the woman's movement has had a similar tendency. On the other side, it often seems to me that the old American left, which grew as a social and cinematic force in the 30s, embraced the traditional masculine role, and occasionally risked misogyny by equating woman with the temptations of home and security that must be resisted by the politically committed male.
The politique des auteurs was associated in 50s France with a Catholic position, and frequently with a right-wing position. Positif, the magazine that most vigorously opposed the auteurism of Cahiers du Cinema, was committed to the political left, and saw the advocates of the politique as little more than fascists. (English-language readers who are interested in the history of the politique should try to find a copy of Peter Graham's out-of-print collection The New Wave, which translates and reprints articles from Positif, Cahiers and other magazines that illustrate the political issues at stake.)
I've always believed that the Catholic origins of auteurism, obscured over the years by other layers of ideology, had a lot to do with the prominence in the auteurist canon of films in which the world is a vale of tears, and protagonists (often women) are buffeted about by forces outside themselves, finding at best a spiritual victory. And Positif's tastes in American cinema, which reflected their political commitment, strike me as rather male-oriented.
I happen to feel that, in the final analysis, vale-of-tears movies reflect the human condition better than movies about victory over adversity. (As Pialat said in a late interview: "Death - it's not an improvement.") Not that you can't have good movies with active protagonists: the human condition covers a lot of territory. But this leaning of mine is probably the reason that my lists of favorite films contain so many movies with women's names.
Labels: auteurism, lists, theory