Di –Virgin-t

March 31, 2014

My friend Babs and I went to see “Divergent” this past weekend. The film was just about to start when five giggly tweens plopped down in the seats next to me.

“Are these seats saved?” the one closest to me asked, suddenly all girlish concern.

I was tempted to say “yes.” Who needs five texting jumping beans when you can have peace and quiet? But how dog in the manger would that be? “No, no,” I said, smiling.

I bring this up to begin with, because these tween girls are, after all, “Divergent’s” target audience. It may be “The Hunger Games” 2.0 or another American tale of the limits of conformity. But at its heart, “Divergent” is very much a virgin’s story, about growing up and learning to use your mind and body properly as you follow your heart and overcome your fears, including the fear of men.

Are warrior women winning the battle only to lose the war?

March 26, 2014

Call it “The Hunger Games” 2.0.

This past weekend, “Divergent” opened with a respectable $55 million at the box office. It’s hardly “Twilight” money, but it’s a satisfying spring debut for a franchise hopeful that’s following in the wake of “The Hunger Games,” which is also about a feisty young woman leading a rebellion in a post apocalyptic society. (I plan on seeing “Divergent” this weekend though I’m in it mostly for Brando-esque co-star Theo James – he of the sculpted cheekbones and the sullen, sultry way with a self-contained character, Mr. Pamuk in “Downton Abbey” and the title character in CBS’ short-lived “Golden Boy.”)

The success of “The Hunger Games,” which cemented humorous everywoman Jennifer Lawrence as a star, has led toy companies to develop a whole line of weaponry – guns and bows and arrows in pink, no less – for girls who want to emulate Lawrence’s Katniss or Shailene Woodley’s Tris in “Divergent.” I have no problem with this or with stories featuring gutsy, independent-minded young women, having once been a gutsy, independent-minded young woman myself...

The sex trap

March 13, 2014

One of the great illusions that some feminists and more than a few sentimental men hold is that women offer a different leadership model than men – that they’re more collaborative and compassionate, building consensus rather than creating chaos.

I’m here to say, You think that if it makes you happy. In a 33-year career, I’ve worked for men and women, and I have to say I prefer working for men.

For one thing, they don’t take everything personally. For another, they have the advantage of millennia of leadership DNA. Women are relatively new to the leadership game, and they often ape men instead of developing their own styles. They think they have to be tough when they really should be strong and so they wind up merely being shrill.

But women have also had the disadvantage of their sex, which they in turn tend to use.

In “Frozen,” Elsa embraces her magical powers as she sings “Let It Go.”

Are men the hotter sex? Or are women just ‘Frozen’?

March 9, 2014

It’s been a week since the Oscars, but Cate Blanchett’s Best Actress acceptance speech is still trending with me. Or rather, Maureen Dowd’s riff on it is.

Blanchett implied that her Oscar win for “Blue Jasmine” proved that films with women at the center aren’t “niche experiences.” Dowd’s March 5 column “Frozen in a Niche?” demonstrated otherwise:

“The percentage of women directing, writing, producing, editing and shooting films has declined since 1998, according to an analysis of the top 250 grossing films of 2013 by the Center for the Study of Women in Television and Film at San Diego State University. (The anticipated halo effect from Kathryn Bigelow becoming the first woman to win a directing Oscar for 2009’s “The Hurt Locker” never happened.)

“The center’s latest report had some stunning stats: Women accounted for 6 percent of directors, 10 percent of writers, 15 percent of executive producers, 17 percent of editors and 3 percent of cinematographers. And women are still more likely to be working on romantic comedies, dramas or documentaries than the top-grossing, teenage-boy-luring animated, sci-fi and horror movies.”

Sound like a niche to me. Mais pourquoi?

Jared Leto, the inside man

March 3, 2014

How great was it to see Jared Leto – who left Hollywood to front a band – win the Best Supporting Oscar for his role as a transgender prostitute in “Dallas Buyers Club”? (Actually, the win was sort of a no-brainer. Hollywood loves to reward actors who transform themselves and stories that have their hearts in the right place.)

Leto seems to have his in the right place, too. Of course, there was plenty of Internet snark about his acceptance speech, in which he told the “dreamers” in Ukraine and Venezuela that we were thinking of them. (Apparently, actors aren’t allowed to be human.) I came late to his speech, but I’m glad I caught the end: "This is for the 36 million people out there who have lost the battle to AIDS.” He concluded, “To those of you who have felt injustice because of who you love and who you are, I stand here with you and for you.”’

As he left the stage, host Ellen DeGeneres shook her head and said, “Beautiful.”’

Jared Leto and the bridge of the imagination

March 1, 2014

If you were to ask me – a woman who considers herself to be a great connoisseur of beautiful men – who is the most beautiful man I’ve ever seen, I’d have to say Jared Leto. He is it for me (though Johnny Depp is a close second.) I’m not talking beauty plus brains, personality, character or anything else but just sheer physical beauty. It’s no wonder that Oliver Stone cast him as Hephaestion – the love of Alexander the Great’s life – in “Alexander.”

So naturally, I was delighted to see Leto as the frontrunner for the Best Supporting Actor Oscar March 2 for his role as a transgender prostitute in “Dallas Buyers Club.” And just as distressed to see a fatuous Time magazine piece titled “Don’t Applaud Jared Leto’s Transgender ‘Mammy’,” in which Steve Friess likens Leto’s gender portrayal to the racial cliché of Hattie McDaniel’s Mammy in “Gone With The Wind.”

There are so many misguided ideas in this article that it isn’t even funny.

Scaling “Brokeback” again

January 26, 2014

When people ask me to give them the “elevator pitch” for my novel “Water Music,” I always say it’s “‘Brokeback Mountain’ meets ‘Fifty Shades of Grey’” – not because I would equate my book with those works but because it deals with gay lovers and issues of power and submission. Such is our world – with no time for anything – that we must reduce everything to labels, boxes and clichés.

Everyone who writes about gay men in love today owes a debt, however, to Annie Proulx’s sparely beautiful short story about two 1960s cowboys – shepherds really – whose love is doomed by an inability to communicate, by a closeted world and, in a sense, by the all-consuming nature of that love.

Now Proulx’s short story and Ang Lee’s equally haunting film version – starring the late Heath Ledger as Ennis Del Mar, the more constricted of the two lovers, and Jake Gyllenhaal as Jack Twist, the more expressive – have been turned into an opera by Charles Wuorinen, whose atonal style would seem pitch-perfect for Proulx’s Heminway-esque writing. (She contributed the libretto for the work, which premieres Jan. 28 and runs through Feb. 11 at the Teatro Real in Madrid.) Read more