Editor’s Note: Sorry for the delays in posting this week. Today I am featuring an awesome guest post by Marissa Zappas. Marissa is currently a student at The New School, majoring in Global Studies (pretty much Anthropology) and minoring in Gender Studies. She is absolutely thrilled to be a guest writer on Brenna’s awesome feminist blog and hopes to post again soon!
I wonder why it is rare in film to see women partaking in rebellious activities, rather than activities that are not rebellious whatsoever, but somehow claim to be. Hysteria, a newly released film directed by Tanya Wexler, examines the invention of the vibrator during Victorian England, and depicts female orgasms as the cure for the contrived illness of “hysteria”. Why is female sexual desire– especially the idea of a woman having an orgasm– still something that feels so taboo? How is it that a film such as Hysteria can exist based solely on the shame surrounding the idea of a woman as a potentially sexual being, the comedic elements relying on shame-induced laughter? And lastly, why do we continue to tell the offensive and oversimplified story that all an uptight woman needs in order to feel liberated is sex?
Hysteria centers around Mortimer Granville (played by Hugh Dancy), a young and educated British fellow, who wants to innocently dedicate his life to helping others (and also make lots of money). Granville is portrayed as a progressive/liberal character, because he believes in “modern medicine” and specifically the futuristic idea of germ theory. He favors all things modern and looks down on those he believes to be stuck in the past. The beginning of the film depicts him struggling to find someone who will bless his naïve eagerness and hire him. The only person who will give him a job is Dr. Robert Dalrymple (played by Jonathan Pryce), a “women’s doctor”. Dr. Dalrymple has two daughters, Charlotte (played by Maggie Gyllenhaal) and Emily (played by Felicity Jones). Charlotte is “feminist” because she is loud and reactive, while Emily is quiet, obedient and clearly missing out the exciting life that Charlotte the feminist leads. Charlotte punches men in the face when she is angry, and Emily just doesn’t get angry. Dr. Dalrymple treats hysteria by giving women orgasms via pitching a puppet-show-like tent around their waists. Then, while they’re lying down so they cannot see him, he rubs them off. This is all unbeknownst to the women, who are depicted as having no idea that they are even feeling sexually aroused, and furthermore may not even know that they are capable of these sensations.
A major reason that I wanted to explore this film was because I find it simultaneously troubling and fascinating how we all too often underestimate the psychological strength of medical labeling (for example when words such as “sick” or “crazy” are used to describe a person). Labels like these carry much weight, and can easily encourage the formation of intense, dominant/submissive relationships (between friends, family, doctors and patients, whoever). This film is shocking because it does not portray hysteria accurately, but attempts to make light of it. It does not depict the pain and suffering that many women experienced during Victorian England. It does not do justice to what hysteria really was—a contrived medical diagnosis that gave men the power to oppress women, to strip them of their rights and to delegitimize the way that women felt. I argue that the film reflects how many of these misogynistic ideas have still managed to linger around. The female characters in the film are not complex individuals, and as a viewer, I wondered how they really felt about what was going on. Obviously, if we cannot acknowledge past suffering we cannot honestly move on. The diagnosis of hysteria was never humorous, and fully worked to further sexism and the violence against female-identified bodies. Hysteria may aim to lovingly mock the past, but in reality, it winds up inadvertently displaying how little feminist and queer efforts have impacted the major film industry and society at large. I realize that Hysteria was not meant to be a “serious” film, but the point is precisely that it is grappling with very serious topics. Although it may have intended to be a retrospective, tongue-in-cheek look at the invention of the vibrator, it fails to tell the whole story, which I also realize is generally difficult (if not impossible) to do. The danger is that the film masks itself as feminist, telling a story pitched to female viewers, intending to give women more power by telling us to just laugh off the past. We absolutely cannot laugh off the past, especially when it comes to issues of inequality.
Hysteria uses similar logic to beauty magazines: a woman must suffer and sacrifice in order to be considered worthy. I would like to seriously question this: should we really always suffer for what we want, or even need? I’m not arguing against the concept of hard work, but I am arguing against the idea that abuse, self or culturally inflicted, is okay if there is a positive outcome. In Hysteria, Charlotte is financially dependant on her father (whom she despises), and in the end she is only satisfied when Granville gives her money so she can pursue her dream. However, in order to get Granville’s money, she had to go through hell. There are plenty of feminists who are not simply reactive—they are thoughtful, brilliant, and yes–often very angry, but for the most part (if they have the financial means to do so) rely on themselves and their support systems for their needs rather than the forces that oppress them. Why is it that there are not more movies made about women starting revolutions, loving each other, and achieving their goals without requiring the approval of men?
In Hysteria, a woman can quite literally only have an orgasm at the hands of a man (until the end when the portable vibrator is invented) and the film completely disregards women who might use their own hands to induce orgasms. Hysteria pities women who are not like Charlotte, who may actually be comfortable in their submissiveness (such as Emily). What about those women who fully embrace their positions of submission and subordination and might even enjoy it? Are those women considered less worthy of respect? How does this film account for them, besides including a character that is a former female sex worker, and who is often the unfortunate subject of jokes?
The medical diagnosis of hysteria is not taken seriously within the film, and this creates a lack of acknowledgment that distorts the very real, very serious, and very legitimate feelings that women experienced (and still experience!). Consider the trouble that would occur if a comedic film were made depicting the logic of a group of oppressive people? It would not be funny at all! This film fails to show how women really felt (and feel), and furthermore, the ways in which patriarchy is still alive and kicking today, just in a slightly different form.