The Spiral staircase (1946)
The film, The Spiral Staircase directed by Robert Siodmak depicts the story of a serial killer hunting down women with afflictions and a mute woman being his prey. Siodmak shows off the contrast between the innocent prey, Helen and the intense killer, Professor Warren. Helen the mute protagonist is wearing a white dress with her hair pinned up showing off her innocence and good nature. On the other hand, Professor Warren is shown in starch black suit often smoking a pipe giving off a fierce stoic sense to the audience. When Dr, Perry is talking to the Warren brothers about relocating Helen to his house for her safety, Professor Warren and his brother are seen through a low angle shot. The low angle allows them to look bigger therefore making them look intense and powerful especially in regards to Pr. Warren. Siodmak also uses different camera angles to add mystery and horror in the film. In the beginning of the film an extreme close up of the killer's eye inside a woman's closet as she is getting dressed. This adds a very eerie feeling in the scene because the woman is completely unaware that there is a murderer in her closet. Meanwhile, the audience is all knowing of her fate as we see this zoomed in shot of his eye. The eye is the only thing illuminated against stark black of the closet adding a level of terror as well. This extreme close up of the eye is used again in the film shortly after to add the same effect. It becomes a symbol for the killer and the horror that awaits.
Siodmak also includes amazing camera shots during each murder that create a very chilling effect. During the murders Siodmak doesn't show a lot but what he chooses to show has such a strong affect on the audience. With the first murder shown there isn't a lot too it, a woman is undressing and the audience knows that the killer is in the closet. Suddenly he comes out and attacks her but all the audience can see is her hands. Siodmak includes this powerful shot of just the woman's hands furling and reaching desperately. Through this shot it is perfectly understood that she is being strangled without it even being shown. It also adds a horrific tone as the audience sees her hands fly about and suddenly go limp.
Siodmak also does another shot when Blanch is murdered with a similar effect. When Blanch is killed she is in the dark wine cellar alone. She recognizes the murderer right away but is unshaken by this because she lives with Professor Warren. Once again the audience does not visually see the attack. Blanch is suddenly pushed up against a wall in the dark. Siodmak uses lighting so that all of Blanch is blended in with the darkness but there is a low light on both sides of her where her hands are. With this lighting the audience sees nothing but Blanch's hands griping the sides of the wall and slowly sliding down until they go limp. The audience can also infer that Blanch is strangled because of how her hands are trying to grip the wall. With this shot and the audience is hit with a intense horrific tone. Throughout the entirety of this movie this tone is created consistently.
Siodmak also includes amazing camera shots during each murder that create a very chilling effect. During the murders Siodmak doesn't show a lot but what he chooses to show has such a strong affect on the audience. With the first murder shown there isn't a lot too it, a woman is undressing and the audience knows that the killer is in the closet. Suddenly he comes out and attacks her but all the audience can see is her hands. Siodmak includes this powerful shot of just the woman's hands furling and reaching desperately. Through this shot it is perfectly understood that she is being strangled without it even being shown. It also adds a horrific tone as the audience sees her hands fly about and suddenly go limp.
Siodmak also does another shot when Blanch is murdered with a similar effect. When Blanch is killed she is in the dark wine cellar alone. She recognizes the murderer right away but is unshaken by this because she lives with Professor Warren. Once again the audience does not visually see the attack. Blanch is suddenly pushed up against a wall in the dark. Siodmak uses lighting so that all of Blanch is blended in with the darkness but there is a low light on both sides of her where her hands are. With this lighting the audience sees nothing but Blanch's hands griping the sides of the wall and slowly sliding down until they go limp. The audience can also infer that Blanch is strangled because of how her hands are trying to grip the wall. With this shot and the audience is hit with a intense horrific tone. Throughout the entirety of this movie this tone is created consistently.
Caught (1949)
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Clash by night (1952)
The movie Clash By Night directed by Fritz Lang tells the story of a woman who believes she is destined to be unhappy and how her actions can destroy the one person who loved her the most. The woman, Mae Doyle, is first seen drinking and smoking in a bar in the middle of the day. The audience is immediately clued in on her personality as Jerry talks to her, she is standoffish and bitter. Throughout the movie Mae talks about the cruel world and her self hatred.This is contrasted when Mae is hanging up clothes with Peggy as she says, "Somebody to fight off the blizzards and the floods. Somebody to try to beat off the world when it tries to swallow you up." (Clash By Night, 1949) Mae believes she is doomed in this cruel world yet she wants someone to protect her. Jerry who loves her and would exactly that for Mae is cast aside when she has an affair with Earl. Earl is cynical and self hating like Mae, but he is also very selfish. Lang has Mae be drawn to him because of their similar bitter qualities but ultimately makes Earl her downfall. Mae goes with Earl because he is everything that Jerry is not and he would never be able to make her happy. She goes to what she is comfortable with; being unhappy rather than doing what she needs.
When Jerry finds out about the affair he is devastated. He had always been a peaceful, kindhearted man, but his anger drives him to do something he normally would never do. His rage is building up and the audience can see this through the symbol of the clock. As he argues with Mae and Earl the clock continuously ticks until finally it goes off. It represents how Jerry is at the peak of his anger. This drives him to attempt to strangle Earl but Jerry realizes that its not who he is and allows him to live.
When Jerry finds out about the affair he is devastated. He had always been a peaceful, kindhearted man, but his anger drives him to do something he normally would never do. His rage is building up and the audience can see this through the symbol of the clock. As he argues with Mae and Earl the clock continuously ticks until finally it goes off. It represents how Jerry is at the peak of his anger. This drives him to attempt to strangle Earl but Jerry realizes that its not who he is and allows him to live.
One two three (1961)
The film One Two Three by Billy Wilder is a satire highlighting the irony of a fascist leader seen through the character MacNamara. The film opens up with MacNamara walking into the office space where he works, he is centered in the middle of the shot with employees immediately standing on both sides of him. Wilder has this shot of MacNamara in the center to show his power and how he is the man in charge. The employees standing up shows how they view him as a powerful leader as well. It also adds to the irony because forcing people to stand for a leader is a very fascist view and MacNamara resents that being an American capitalist.
Even though MacNamara hates fascism and believes in a capitalistic government, he ends up resembling a fascist leader. As he tries to prepare Otto as the perfect man for his boss' daughter he begins barking orders at his orders. Usually, MacNamara hates when his employees stand for him or when Schlemer clicks his heels but ends up allowing it and even encouraging it. He even goes so far as snapping his fingers after each order he gives out. MacNamara completely adopts the fascist role he had despised. The irony is obvious to the audience and becomes the source of humor for the movie.
One can infer that Billy Wilder uses satire to express fascism because he was Jewish resident in Germany when Hitler took power. Wilder even has MacNamara's wife call him mein furher directly correlating him with Hitler. Everything in his film alludes to Hitler and fascism. According to IMDb Wilder, "immediately realized his Jewish ancestry would cause problems, so he emigrated to Paris, then the US." He had to uproot his whole life because a fascist power so it makes sense why he would want to show off fascism in such a way.
Pushover (1954)
The movie, Pushover, by Richard Quine illustrates how greed and lust can be the downfall of level headed people. The two main characters are essentially successful people in their own lives. They live comfortably without anything else they need. Paul Sheridan is a successful police officer who has been appointed to be key role in a very serious case. He has his own apartment and a stable lifestyle. Likewise, Lona Mclane, is living the high life being the sugar baby of Wheeler, the bank robber criminal. She dresses lavishly, drives an expensive car, and has no job curtesy of Wheeler. According to World Scripture online, "Passion, greed, covetousness, hatred, lust: these emotions dominate the soul, causing blindness and leading to destruction." (World Scripture) This is proven to be true at the end of the film when all of that is destroyed.
When it is revealed to Lona that Paul is a cop at first she is mad but her lust for him leads her to beg for him to do everything he stands against. Paul has never been a dirty cop but his lust for Lona and his greed for money pushes him to agree to her. Paul slowly starts to dabble with crime as he goes along with the plan but it doesn't work out the way he anticipated. When the watchman, Allen begins to get suspicious Paul becomes more drastic. He kills his fellow cop, Allen, to avoid getting exposed for killing Wheeler. He does this because he knows if Allen tells people will become suspicious and he won't be able to continue with his plan. His desire to be rich with Lona out ways his compassion for someone close that he has worked with for years.
When it is revealed to Lona that Paul is a cop at first she is mad but her lust for him leads her to beg for him to do everything he stands against. Paul has never been a dirty cop but his lust for Lona and his greed for money pushes him to agree to her. Paul slowly starts to dabble with crime as he goes along with the plan but it doesn't work out the way he anticipated. When the watchman, Allen begins to get suspicious Paul becomes more drastic. He kills his fellow cop, Allen, to avoid getting exposed for killing Wheeler. He does this because he knows if Allen tells people will become suspicious and he won't be able to continue with his plan. His desire to be rich with Lona out ways his compassion for someone close that he has worked with for years.
Things escalate even more towards the end of the film when cops have pretty much surrounded Wheeler's car. Paul knows if he runs to the car to get the money he will most likely be shot or arrested or both. He risks his entire life out of greed for money and runs to the car. Lona is supposed to meet him at street further down but her feelings for him have her chasing after him. She knows that she will is guaranteed to be arrested but she takes that chance just to see Paul one last time. Ultimately lust and greed cost everything and Quine explified that with these two characters.
badlands (1973)
Terrence Malick's film Badlands deals with the inner relationship of a dominant male and a younger submissive female. Kit is a deviant good looking twenty five year old that captures the heart of quiet fifteen year old Holly. Although they don't seem to see an issue with their relationship its clear there is a controlling leader and a naïve follower between the two of them. Kit doesn't make it obvious that he is controlling most likely because he doesn't even view himself as being manipulative. Holly doesn't seem to care regardless as she follows his every move and never questions it.
The first time we see this dominant & submissive relationship prominently is when Holly's father forbids Holly from seeing Kit so Kit comes over and kills him. Kit never asks Holly if he can kill her father but he does it anyways. Holly barely reacts it's hard to imagine that she was really torn up over her father's death. As a matter of a fact she shows more emotion when her father shoots her dog. Most people would be full of rage if someone killed their father before their eyes but not her. Holly accepts Kit's actions and continue to follow his lead right after. Kit orders her to help make the scene look like a double suicide in a fire. She goes along with it and runs away with him leaving her home and life behind. Holly doesn't seem to be bothered with reason she is so infatuated with Kit she remains submissive.
The first time we see this dominant & submissive relationship prominently is when Holly's father forbids Holly from seeing Kit so Kit comes over and kills him. Kit never asks Holly if he can kill her father but he does it anyways. Holly barely reacts it's hard to imagine that she was really torn up over her father's death. As a matter of a fact she shows more emotion when her father shoots her dog. Most people would be full of rage if someone killed their father before their eyes but not her. Holly accepts Kit's actions and continue to follow his lead right after. Kit orders her to help make the scene look like a double suicide in a fire. She goes along with it and runs away with him leaving her home and life behind. Holly doesn't seem to be bothered with reason she is so infatuated with Kit she remains submissive.
To the two of them they don't seem to acknowledge the large age gap between them. Kit makes a point to accentuate how mature Holly is. He uproots his whole life and commits violent crimes in front of a young girl. He doesn't think she is too young to be around that kind of violence and he doesn't fear her running off to the police. As for Holly she believes she is in love with Kit almost like the way a teenage girl fawns over an idol. She compares him to James Dean and talks more about his looks than his character. Even though to the both of them they believe they are in a mature loving relationship it couldn't be more far from the truth. According to Steve Erickson from Slate.com, "Malick’s writing of Holly’s voice-over is marvelous: He imagines a voice steeped in gossip magazines and romance novels and creates a style of purple prose to suit her." (Slate) The way that Holly behaves and talks its dripped in a childish manner. Holly romanticizes their relationship so much that her reasoning behind running away with Kit is because she rather be a week with someone she loved than have a lifetime of loneliness. Its her first exciting moment with a boy that she fantasizes it as being love. A mature adult would realize that this is just one boy and a life time is a long time with many other possibilities, but her being so young she doesn't have that relationship experience to see that. Malick has her speak this way about love to emphasize how naïve she really is. Holly doesn't love Kit she just met him. She only goes along with him because it's exciting and new and it's masked as love.
Throughout the move Kit gets more and more violent, killing anyone he comes across. That has to be extremely traumatic and horrific to see but Holly never objects. Holly may be young but she knows right from wrong. She even talks to the victims before their deaths reassuring them that they won't be harmed. Maybe for her its less of reassuring them but more of reassuring herself. Holly doesn't want to believe Kit is a bad person who does awful things. Kit only adds to this idea and maybe that's why she never objects. He always has an excuse for each murder like he's trying to convince Holly what he is doing is justifiable. Whether she believes that or not is unclear but one thing is for sure she always goes along with each murder no matter what. Kit convinces her at one point that killing the bounty hunters was the right thing to do because, "...they would've played just as dirty." (Badlands) Malick puts this line in to highlight how easily swayed Holly is by Kit's manipulation. Kit makes the other people he kills the bad guys in Holly's head so she continues to follow his lead. Holly follows Kit murder after murder with out a word. Their dominant and submissive relationship works continuously with Holly eating up Kit's every word.
Straight Time (1978)
The 1978 film, Straight Time, directed by Ulu Grosbard depicts the depths a person will go when all hope is lost. The movie does start out hopeful with the main character, Max, getting released from prison after six years. All he wants is to live independently in society but struggles with working with his Parole Officer. From the start the Parole Officer is already being unreasonable. His response to Max wanting to live independently instead of in a Half-Way House is, "You've got an attitude problem." (Straight Time) He doesn't bother to understand Max's position of wanting a fair chance at living, he only sees that Max did not listen to his orders of going to the Half-Way House. The Parole Officer does end up allowing Max to live on his own if he can get a job and a place to stay in a week. Max genuinely works hard to get his life back together. He gets both the apartment and a job in less than a week.
Unfortunately, for Max his Parole Officer only seems to focus on the bad things going on in Max's room. He handcuffs Max and sends him to jail after finding a match on his floor. This is a big blow to Max's ambition because now he is back where he started without doing anything wrong. The audience can see a shift in his physical appearance and behavior because of this unjust event. When he is talking on the phone with Jenny, his eyes become red and glossy. As she talks to him he gives half-hearted, vague answers. We can literally see him lose all hope and just give up in that moment.
This causes him to have breaking point when he is released again. All his Parole Officer can talk about is 'who shot up in his room'. Max is fed up how his Parole Officer has done more harm to his fresh start than help. He knows he will never really be free from the prison life with Earl as his Parole Officer. So, he accepts it all; the crime life he has always known. He takes the wheel while his Parole Officer is driving back home and chains him to a fence with his pants pulled down.
Unfortunately, for Max his Parole Officer only seems to focus on the bad things going on in Max's room. He handcuffs Max and sends him to jail after finding a match on his floor. This is a big blow to Max's ambition because now he is back where he started without doing anything wrong. The audience can see a shift in his physical appearance and behavior because of this unjust event. When he is talking on the phone with Jenny, his eyes become red and glossy. As she talks to him he gives half-hearted, vague answers. We can literally see him lose all hope and just give up in that moment.
This causes him to have breaking point when he is released again. All his Parole Officer can talk about is 'who shot up in his room'. Max is fed up how his Parole Officer has done more harm to his fresh start than help. He knows he will never really be free from the prison life with Earl as his Parole Officer. So, he accepts it all; the crime life he has always known. He takes the wheel while his Parole Officer is driving back home and chains him to a fence with his pants pulled down.
This lose of hope and acceptance of a life of crime leads Max to commit acts of robbery. At first he starts out small by robbing an Asian convenient store but then gets bolder and steals guns by digging through a wall. Max has nothing left to lose because he feels he has already lost everything. There is nothing he wouldn't do at this point. So he teams up with another ex con to rob a bank. Most people would lay low if they were wanted by the police, but not Max. The New York Times explains this by saying, "Max never questions the system. He simply tries to beat it in his own half-baked way." (Canby) He is fully aware that he will do hard time for his crimes if he is caught but he has lost all hope and is determined to go down with everything he's got. Max decides to commit a jewelry store heist with Jerry, the other ex-con. Things don't go as planned due to Max's lack of hope. He poorly plans and gives the role of the get-a-way car to his best friend, Willy, last minute. Willy ultimately betrays him and leaves them with out an escape car. Max knew Willy was trying not to get caught up in the law anymore but Max felt like he had nothing left to lose. He was wrong because in the end he lost a good partner, Jerry, and his best friend, Willy.
SNowPiercer (2013)
The movie, Snowpiercer, directed by Bong Joon-ho reflects on the role of authority and classes in our society. There is a clear leader in the film, Wilfred, and from there, there are ranks in authority. There are the security guards who enforce strict rules and order based on the orders they receive from Mason who directly receives orders from Wilfred. Already these ranks in authority are similar in the American society. Much like Wilfred we have a sole leader; the President. The President is supposed to care for its people. We also have police who enforce order like the security guards and government officials that Mason represents that send out those orders. We as citizens are expected to listen and respect those in authoritative roles because they are supposed to care for us. Just like the citizens of the back of the train are supposed to obey the guards and listen to Mason because they were given shelter when the world froze over. The ranks in this film are so extreme so we can reflect on the ranks in our own society. According to AV club, "[Snowpiercer] is clearly one massive allegory for rigidly enforced class structures and for the Machiavellian ways that the powers that be keep those structures in place. " (Tom Briehan) Even though we do not live in a Machiavellian society we can see the similarities in the Snowpiercer authoritative structure as in our own society. Joon-ho creates such a similar yet drastic example of the ranking system of authority we have in our own society to show that those in charge do not really care for it's people and therefore authority should be questioned when it is unjust.
For over 17 years the people from the back of the train have listened to those in charge but one passenger, Curtis, wants change and begins to plot a revolt. The only way to break down this class system in place one has to get to the leader, but Wilfred will not leave the engine at the front of the train. Any issues have to go to Mason who then promises will be given to Wilfred, but this is not enough for the people. They need direct action. We face the same issues in our society. While the President has power to create the rules in place the citizens can not directly speak their issues/concerns to them. We have to first express them to a state senator and then it has to be voted upon before the President puts their opinion in. The likely hood of one's request even making it to the President is very slim. How is the President supposed to cater to the people's needs if the people's requests don't even reach the President? This message is what Joon-ho is trying to emphasize by having the people in the back of the train living in such poor conditions and being unable to express their demands to Wilfred because he never leaves his engine. Wilfred does not care that they have to sleep bunk to bunk and eat only protein blocks. Wilfred lives in that sleek engine room eating steaks for dinner. He could care less about the end of the train's problems that's why he constantly sends Mason to give speeches and listen to the people. For that reason it is so important that Curtis steps up to the authority in charge.
Unfortunately, Mason is just as unbothered as Wilfred. She uses her power to protect herself from the revolution. During the dark tunnel fight scene, she stands at the front of the train car and watches the gore. Instead of breaking up the fight or even helping the guards on her side she just watches it.
For over 17 years the people from the back of the train have listened to those in charge but one passenger, Curtis, wants change and begins to plot a revolt. The only way to break down this class system in place one has to get to the leader, but Wilfred will not leave the engine at the front of the train. Any issues have to go to Mason who then promises will be given to Wilfred, but this is not enough for the people. They need direct action. We face the same issues in our society. While the President has power to create the rules in place the citizens can not directly speak their issues/concerns to them. We have to first express them to a state senator and then it has to be voted upon before the President puts their opinion in. The likely hood of one's request even making it to the President is very slim. How is the President supposed to cater to the people's needs if the people's requests don't even reach the President? This message is what Joon-ho is trying to emphasize by having the people in the back of the train living in such poor conditions and being unable to express their demands to Wilfred because he never leaves his engine. Wilfred does not care that they have to sleep bunk to bunk and eat only protein blocks. Wilfred lives in that sleek engine room eating steaks for dinner. He could care less about the end of the train's problems that's why he constantly sends Mason to give speeches and listen to the people. For that reason it is so important that Curtis steps up to the authority in charge.
Unfortunately, Mason is just as unbothered as Wilfred. She uses her power to protect herself from the revolution. During the dark tunnel fight scene, she stands at the front of the train car and watches the gore. Instead of breaking up the fight or even helping the guards on her side she just watches it.
Even when the chief in command shouts, "Surrender! Surrender or else he'll kill me!" (Snowpiercer) she just shrugs. She cares more about keeping her position in power than to help her own people. Joon-ho puts this scene in to illustrate how our government will not intervene when acts of violence our committed. We can see this today with the issues of police brutality and school shootings. Our government refuses to even acknowledge police brutality and gun laws as a problem in our country let alone make change to end these problems. It doesn't matter to them that it's citizens are being killed and that is why Joon-ho wants society to realize if it wants change they have to stand up to authority.
THe Star (1952)
The film, The Star, directed by Stuart Heisler, is a social commentary on the "glamorous" Hollywood lifestyle during this time period. The main character, Margaret was once a Oscar winning actress but has been out of the spotlight for quite some time. However, she refuses to accept that her lavish actress days have ended. Margaret feels lost not being the glorified actress she once was. One of the most prominent signs at the beginning of the movie, that her life is in shambles is when her landlord tells her that she has to pay rent or else they'll evict her. Margaret is dumbfounded and questions if she had mentioned that she is Margaret Elliot. The landlord said that she had but to the building owners Margaret wasn't a famous celebrity, she was just another tenant. Heisler puts this interaction between the characters in this scene to demonstrate how Hollywood brainwashes actresses to believe they are so great but in the eyes of the real world they are just like everyone else. Actresses become accustomed to a way of life full of glamour and fame that is just not real.
In addition to this afterwards Margaret is full of despair and looks to reminiscent in her old lifestyle. She drinks and drives through rich star's neighborhoods looking at young upcoming celebrities' houses. The houses are enormous and ravishing. She stops at one just like it; it's her old house from when she was at her prime. Margaret's old house is such a drastic contrast to her simple apartment which she can barely afford. This scene emphasizes how Hollywood sucks actresses into a life of luxury and glory and then spits them back into the real world without a true sense of reality. At some point Margaret, along with thousands of other actresses, believed she would always live in a mansion and have her face on every headline. That's why when all of that collapsed before her eyes she was so distraught.
In addition to this afterwards Margaret is full of despair and looks to reminiscent in her old lifestyle. She drinks and drives through rich star's neighborhoods looking at young upcoming celebrities' houses. The houses are enormous and ravishing. She stops at one just like it; it's her old house from when she was at her prime. Margaret's old house is such a drastic contrast to her simple apartment which she can barely afford. This scene emphasizes how Hollywood sucks actresses into a life of luxury and glory and then spits them back into the real world without a true sense of reality. At some point Margaret, along with thousands of other actresses, believed she would always live in a mansion and have her face on every headline. That's why when all of that collapsed before her eyes she was so distraught.
This matter of Hollywood luring actresses in with a life of fame and then cutting them off of all they've known is very real. Even though The Star, is just a film and Margaret's story is made up it's all based on a real life story. According to TCM movies, "Davis particularly enjoyed that it was written about Joan Crawford." (TCM movies) Margaret Elliot's story is based on the once great Joan Crawford's downfall. It's a true reflection of Hollywood during this time period. Everything that Stuart Heiser put into this film was to highlight the facade Hollywood makes actresses believe before cutting them dry when they are perceived as too boring or old. Towards the end of the film Margaret's friend, Jim says to her, " When you grabbed for it you thought it was real. Story of your life, isn't it." (The Star) This really pulls this whole message that Heiser is trying to convey. This lifestyle of riches and fame seems to be a reality for the actresses in Hollywood but once you become overdone and unwanted like Margaret all of that fades away. It's truly a fake reality.
Flashdance (1983)
The film, Flashdance, directed by Adrian Lyne, deals with the male gaze with the story of an 18 year old dancer. Alex, the main character, is a welder by day and an exotic dancer by night. Throughout the movie she encounters a lot of male lust towards her. A lot of critics believe the movie is from a feminist perspective and portrays female empowerment. According to Jump Cut, " On one level FLASHDANCE presents an exhilarating fantasy of control — of women's control over their own bodies... On another level, a deeper level, however, the film frustrates its female viewers. " (Kalinak). I agree with Kalinak because yes on the surface the film includes women's self expression and liberation over their bodies but the movie as a whole conflicts with feminism. Alex's character is able to express herself as a woman on stage at Mawby's bar and she always speaks her mind without any apology. Yet she always seems to give in to men and their wishes.
The first moment when the male gaze is apparent is when Nick sees Alex dancing at the bar and the day after he tries to ask her out. He was first attracted to Alex for her body dancing on stage. Not her personality or her intellect, no, her body. Even though Nick exhibits good qualities and seems like a good person he is constantly trying to control Alex and her life. Nick kept trying to ask Alex out but she would always say no because she does not want to date her boss. If this was truly a feminist movie no matter how many times Nick asked her, Alex would stay true to her beliefs and been firm with him. This is not the case though, Nick continously kept trying to see Alex even coming to her job. At one point he comes around her work to see her but of course she has no interest in flirting with him. He waits until after she gets off work when she gets cornered by two rival guys then Nick jumps out and gets them to leave her alone. By Nick defending her like this may seem honorable but its just a cheap way for him to use his "strong" masculinity to get her to look at him differently. Alex can defend herself but Nick has to be her savior apparently. Not only that but he follows her home until she's so beaten down by him asking her to date him that he tells her she's fired just so Alex will date him. In any other situation this would be seen as harrassment but in a cheesy 80's movie it's romance.
The first moment when the male gaze is apparent is when Nick sees Alex dancing at the bar and the day after he tries to ask her out. He was first attracted to Alex for her body dancing on stage. Not her personality or her intellect, no, her body. Even though Nick exhibits good qualities and seems like a good person he is constantly trying to control Alex and her life. Nick kept trying to ask Alex out but she would always say no because she does not want to date her boss. If this was truly a feminist movie no matter how many times Nick asked her, Alex would stay true to her beliefs and been firm with him. This is not the case though, Nick continously kept trying to see Alex even coming to her job. At one point he comes around her work to see her but of course she has no interest in flirting with him. He waits until after she gets off work when she gets cornered by two rival guys then Nick jumps out and gets them to leave her alone. By Nick defending her like this may seem honorable but its just a cheap way for him to use his "strong" masculinity to get her to look at him differently. Alex can defend herself but Nick has to be her savior apparently. Not only that but he follows her home until she's so beaten down by him asking her to date him that he tells her she's fired just so Alex will date him. In any other situation this would be seen as harrassment but in a cheesy 80's movie it's romance.
Finally, the most extreme moment where Nick tries to dominate Alex is when she finally applies for the dance academy. Nick sees her and calls in a favor so she'll get an interview. Alex had been wanting to do this so long and finally got the courage and Nick just decides to swoop in and bless her with his connections. Alex becomes upset at this obviously and says, "I don't want you buying me anything. I don't want you buying me, period!" (Flashdance) Alex is so in the right for saying this. All Nick wants to do is flash his money and use it to provide everything that Alex has worked for. This is a really feministic moment but unfortunate Alex ends up using his favor and forgiving him. So in the end she always herself to be controlled by a man who believes his masculinity is a blessing for others.