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Why Legally Blonde Is a Feminist Movie

13/12/2022 | objavio Radio Gradačac

Legal Blonde and Reese Witherspoon`s exceptional performance of Elle Woods are at the heart of this category of timeless films. She was not what I imagined to be activists. In fact, as much as I enjoyed watching the movie, I had a harder time identifying with the character when I was younger because all I could see was the pink, feminine fashionista that I had never been and never would be. This is the first impression most people have of her – including the Harvard admissions team, who later reveal that her physical appearance was a major reason for her admission. But while it holds up in many ways, especially when it comes to its feminist themes, the 2001 film isn`t perfect. Although she has to deal with Harvard Law School, her heartless ex-boyfriend, and his new fiancée, she struggles with her hair color the most. The origins of the “dumb blonde” stereotype are unknown, but many historians believe that the first officially recorded mute blonde dates back to 1775. A Parisian courtesan named Rosalie Duthé inspired a satirical play called “Les Curiosités de la Foire ” because it had a reputation for stopping long before speaking, falsely attributing stupidity to the starlet and the resulting golden-haired beauties. First of all, I love this movie!!! And I love your evaluation and I totally agree! They often fostered a sense of sisterhood and support among women.

Filled with arcs of strong characters, lots of pink and fabulous fashion, we all have our favorite movie from the 2000s to watch. Most of them, however, portrayed women in a terrible light as feline and bitter. Although Legally Blonde falls into this category of films, what really sets it apart is its powerful feminist message. Starring Reese Witherspoon, the popular film taught viewers everything from proper perm care and the ideal “Bend and Snap” technique to feminism and self-confidence, no matter who tries to put you down. By the way, it`s also a hilarious and endlessly citable movie. This week I had a meeting with a pre-medical counselor. It was a very direct interaction that was exactly what I needed. I showed him my stats and basically asked, “What do I need to do to get into my dream school?” The consultant gave me some resources and told me how I could improve on the weaknesses of my application. I affectionately called this interaction my law meeting Elle Woods Harvard.

Verbose I know, but very specific to the situation. This interaction rekindled my love for the film Ms. Woods from, so I decided to give her the old iteration. Throughout the film, She is happiest in women-dominated spaces that emphasize community and collaborative support, traits typically associated with femininity. When she prepared for a proposal from Warner and then extinguished the grief, it was as much a Delta Nu experience as hers. Once she decides to study law, the whole sorority participates and helps her study for LSAT and do her video essay. When she arrives in Cambridge, she again seeks comfort in a nail salon, a place where women take care of each other and give advice, even if they are strangers at first. And it`s no coincidence that when she finishes working on the Brooke Windham case and wants to leave Harvard, she cries in the nail salon, where Professor Stromwell (a perfect Holland Taylor) listens to her fate. There are few current examples of pure comedies that are feminine, and when they are made, they tend to prove that the fashionista-feminist trope is almost extinct. Emily in Paris, by Sex and the City creator Darren Star, is an example of a show that attempted to revive the feminist fashionista. Without the pink hue of nostalgia of the early 2000s, the show`s main character, Emily Cooper, a social media marketer located in the City of Light, felt uncomfortable and unoriginal. If we look at comedies directed by contemporary women in film and television, we will notice that new character tropes have begun to take the place of the iconic girl and the occasional feminist.

These days, it`s usually the sloppy, awkward girl – for reference, see bridesmaids. She throws her hair into a messy bunk, and she`s probably drunk or hungover at least once – so she`s super assignable. These films were simple, straightforward and not interested in getting involved in anything. When I think back to the feminism presented in the comedies of the early 2000s, I can`t help but lament the loss of these films and characters. At the risk of looking about a hundred years old, they don`t make them like they used to.

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