Entertainment
Why is Hollywood so obsessed with commodifying female pain?
She screams at the photographers, tears streaming down her face as her black eyeliner continues to smudge. Her petite figure fights against the police as she cries uncontrollably, a disheveled beehive leaning to the side as she loses a shoe amid the chaos. No, this is not a devastating paparazzi photo, a relic of a doomed period fueled by the tabloids of the 2000s, but rather a freshly filmed scene in the Amy Winehouse biopic, Back to black, which is arriving today in cinemas.
The controversial film, directed by Sam Taylor-Johnson, has been at the center of controversy since its creation, with fans and viewers criticizing its portrayal of the late singer, questioning the need to make her devastating story headline again newspapers. But unfortunately, that's not the only story told. With a growing trend toward female biopics, why is Hollywood so obsessed with the commodification of female pain and suffering?
Since the announcement of Back to black, fans have raised questions about the intentions behind Amy's story on the big screen. Her talent is undeniable, but so are her struggles, with the singer battling bulimia, drug and alcohol addiction, and self-harm. Yes, we see Amy's journey as a musician in the film, but we also watch her fateful relationship with Blake Fielder-Civil and her struggles unfold in depth.
Back to black is just one of many recent biopics that tell the painful and tragic stories of famous women. From Priscilla (2023) And Blonde (2022) has Spencer (2021)which respectively retraces the lives of Priscilla Presley, Marilyn Monroe and Princess Diana, for Pam and Tommy (2022), the television series that chronicled Pamela Anderson's leaked sex tape. Yes, the one that threatened to ruin his career. The actress spoke out against the project at the time, admitting that learning about it caused a painful aftershock of trauma.”
While these films and shows garner millions of views, they also raise questions about the exploitative and often unnecessary nature of these narratives, with fictional elements often misinterpreting the true stories of their subjects. In Priscilla, viewers watch Rock and roll singer Elvis Presley's wife endures a painfully unbalanced relationship, while Pam and Tommy glamorized following the leak of the Pamelas tape, which catapulted the model into female villainy status, despite it (and the series itself) being released without her consent.
Then in Blond And Spencer, we see the now-deceased subjects portrayed as damaged, paranoid, and mentally ill, with little nuance or space for interpretation. Especially, Blond faced strong backlash because its source material was not based on Marilyn's own life, but on a work of biographical fiction. As journalist, Tasha Stewart pointed out, “In death, women are silent, just like Hollywood likes them. They can be treated as malleable and easily manipulated objects.
Model and activist Emily Ratajowski also summed this up well when she wrote Blonds release, saying: We like to fetishize female pain. Look at Amy Winehouse, look at Britney Spears, look at the way we're obsessed with [Princess] Diana's death, the way we obsess over dead girls and serial killers. Watch any CSI episode, and it's like this crazy fetishization of female pain and death.
With the amount of inspiring stories of women's success in the face of adversity, why can't we focus on these stories rather than recounting the struggles of people who have struggled or died? Take Hidden characters And Harriet, both of which honor the stories of Black women in the United States through themes of racism, slavery, and the fight for freedom against oppression. SO, On the basis of gender follows Ruth Bader Ginsburg, who was the second woman to serve as an associate justice of the United States Supreme Court.
Additionally, upcoming projects like Joy on Netflix, which follows three British pioneers, including the oft-overlooked Jean Purdy, who invented IVF and changed the lives of millions. Why can't we focus on female joy and success rather than pain and suffering?
The intrigue in the lives of these famous women is understandable, especially considering what characters like Amy and Diana meant to so many of their fans. For Back to black director Sam Taylor-Johnson, the film was intended to honor Amy and her audience during the creation of the film. I felt the best thing I could do with this film was celebrate her and her music and stop victimizing her. I really felt like I was carrying the weight of it, she said. GQadding that critics would often take apart a picture without any idea of what the film would be like.
It's also important to note that many of the subjects of these biopics did suffer, in life and in death, which is why their stories are told in such a light. So while we shouldn't attempt to rewrite history, Amy, Marilyn, Pamela, Diana, and many more of these women deserve to receive voices and stories that celebrate them, rather than commodify them and their pain.
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