Another Mel male anxiety film
Opens with a dj seguing into a song with the
observation that it's a good day to be "Born a Woman."
The implication, of course, is that it's a bad time to
be a man, as if the genders are locked into some kind
of zero-sum rivalry.
I don't believe that. I believe gains for women also
translate into gains for men. But in the metaphorically
titled MAN WITHOUT A FACE, the plight of the paternalistic
manly man in an era of feminism is social (facial) erasure.
Yet who is really doing the erasing here? In so many of Mel's
films, women scarcely matter at all. It is the Christian
tradition of long-suffering masculinity that interests him.
To Mel, women represent the corrupted present. The better, male
supremacist world lies in the past. I believe this is the true
significance of Mel's attraction to period films and to films
in which his heroic male protagonist emerges from out of the past,
poised to leave an enduring, if temporarily interrupted, legacy,
to future generations of men.