Analysis Of Film Programme: Femininity Under Scrutiny

This film programme was created for Students and Staff of Modern History, English, and Film (or others with relevant interest), interested in British attitudes towards social relationships in the 1960s. Specifically, inter-gender and inter-racial relationships that were common at the time and the way in which British filmmakers address these issues. Shown in this programme is how attitudes changed throughout the decade, from the “kitchen sink style” of British New Wave, to the inversion of social norms in horror, and the beginnings of the sex comedy which later became a key genre of British cinema in the 1970s. The key theme throughout these screenings is the portrayal of inter-gender relationships as well as the expectations surrounding sex, sexuality, and heteronormativity.

A Taste of Honey (1963)Dir: Tony Richardson

A Taste of Honey follows the relationships of a 17-year-old living in Salford. Jo’s relationships with her mother Helen, Helen’s boyfriend Pete, Jimmy - a black sailor, and Geoffrey - a gay textile / design student are all intertwined and discussed through the nitty gritty and realist style of British New Wave. Through examining each of these relationships and some of the tensions within them, Richardson provides a peek into the underlying racist and homophobic attitudes which were present in Britain at the time and the inter-generational tensions which underpin the beginnings of the New Wave movement.

The Knack… and How to Get It (1965)Dir: Richard Lester

A British comedy film in which Colin, a schoolteacher in London with little sexual experience aspires to learn how to seduce women – or gain “The Knack”, seeking the help of his aggressive and lecherous friend, Tolen. This film discusses allegations of rape, sexual consent and misconduct, as well as the perceived roles of men and women as sexual beings.

Repulsion (1965) Dir: Roman Polanski

Psychological thriller in which two sisters living in London have very different experiences of relationships. Depicts women as being more in control of their own relationships as Carol appears repulsed by the idea of sex, and has nightmarish visions of being assaulted. Polanski’s first English Language film, based in Battersea, full of grit, approaches the main theme of boundary breaking as Carol increasingly refuses to conform to socially acceptable ideas of femininity and womanhood and the audience increasingly see from her view.

Here We Go Round the Mulberry Bush (1968)Dir: Clive Donner

British comedy, local sixth former Jamie delivers groceries for the nearby supermarket – sets out to lose his virginity by trying to flirt with the local girls. He succeeds in his efforts, but ultimately realises that sex isn’t as important as he first thought, after bedding the most “experienced” of the girls.

In choosing the films for the programme, it was important to consider the scope of the films. Would selecting one film from each decade, or 5 films from the same year provide a better portrayal of the changing attitudes towards social relationships and sex? Ultimately the choice of narrowing it down to four films across the decade seemed to be the more reasonable option, as in one decade alone, numerous attitudes and norms dictated the relationships of the people at the time. Firstly, most of these films centre around the sexuality of the younger generation, and how they see themselves within that frame.

In A Taste of Honey, Jo is desperate to get away from her mother and so enters into different relationships with both a black man, and a gay man, breaking away from what is expected of her and purposely pushing back at her mother. This is similar in a way to Jamie in Here We Go Round the Mulberry Bush, as he is desperate to live up to the expectation of his peers and lose his virginity, however he realises that it’s not actually all that – an uncommon attitude for boys of his age to be portrayed as having at the time. Polanski also turns the accepted ideals of sexuality on their head in Repulsion as the typical assault/murder scenario is inverted. A female totally uninterested in and repulsed by sex, who also ends up murdering two men was again not typical of a woman in this period.

In fact, The Knack… and How to Get It, appears to be the only film that follows the stereotypical “common” tropes of the period with archetypal, womanising men, and women who begin crazy but then succumb to the advances of men. However this is still discussing taboo or indecent themes such as rape, sexual misconduct and control over women, and centres less on high-school age characters. Each of the films is also based in a fairly working class area of the UK – Salford, London, Battersea and Stevenage, following the nitty gritty vibe of British New Wave. Although each of these films is not necessarily defined as “New Wave” it would be difficult to argue that they hadn’t been influenced by it. In one way, the programme could have focused on a slightly older set of characters, had I chosen films such as Billy Liar (1963) or A Hard Day’s Night (1964), however these don’t explore such taboo subject matter. The Beatles – although still working class were shot into stardom during the 60s and although girls can be seen chasing them throughout the film, they appear to remain perfect gentlemen, unlike the men we see in other films. Billy Liar perhaps would have fit better with the programme as Billy attempts to keep to engagements on the go without either fiancé finding out, however this isn’t a way for Billy to gain control over the women, so doesn’t particularly fit either.

Ultimately, I felt that both Billy Liar and A Hard Day’s Night, were too escapist for this particular programme and that’s why I chose not to include them, despite being in a similar documentary style and having several features of British New Wave. In conclusion, I selected the films for this programme based on their portrayal of both inter and intra generational relationships and their portrayals or inversions of societal norms from the era, in an attempt to establish what a “typical” relationship was in 1960s Britain. I feel this programme does this and manages to explore other ideas due to the inclusion of foreign directors and casts such as in Polanski’s Repulsion. Ultimately, I think this programme shows that the uncertainty of the 60s, led to an uncertainty in filmmaking as “norms” and ideals became blurred and boundaries were broken, leading to the discussion of more taboo topics and an unclear definition of acceptable societal relationships.