People enthusiastically revisit "Love Actually" every Christmas, flooding social media with film screenshots. Influenced by this festive tradition, I eagerly watched the movie, only to be stifled by its outdated gender perspectives.
Undoubtedly, "Love Actually" contains numerous touching scenes. However, it's crucial to recognize that the film premiered in 2003, two decades ago. Over these years, society has undergone a significant awakening regarding gender consciousness. Failing to reflect on the gender issues highlighted in the movie perpetuates the acceptance of narratives that mirror productions like "The Stepford Wives."
In "Love Actually," women seem relegated to objects of male desire and accessories.
The film unfolds through ten characters, and nearly every storyline concludes with a male character "winning" a female character's affection, admiration, or forgiveness. Women appear devoid of subjective consciousness, lacking memorable personalities or interests, and existing solely as objects of male desire.
One story revolves around Harry, a company executive with a happy family, drawn to his young and alluring secretary, Mia. To "win" Mia's favor, Harry buys her an expensive necklace for Christmas. Despite his wife discovering the affair, she inexplicably forgives him, orchestrated by the director. This narrative divides women into two categories: the externally attractive and tempting young women perceived as threats to families and the kind, loyal, and patient wives who forgive men regardless of their actions.
Both portrayals make me profoundly uncomfortable, stripping women of their aspirations, struggles, and emotions, leaving only a hollow image designed for male existence.
Another story involves Sarah, who has a long-standing crush on the designer Karl. Despite finally expressing her feelings at a Christmas party, their intimate moment is interrupted by a call from Sarah's mentally challenged brother, whom she consistently supports emotionally. In this narrative, women are presented as caregivers, embodying the idealized, selfless, 24/7 emotional support figure—roles that reinforce the expectation that women should prioritize nurturing over personal pleasure.
The film subtly demands women to be caregivers while suggesting that men, if not being cared for, should leave and find a woman willing to fulfill this role.
One particularly disturbing subplot follows Colin, who, frustrated by his romantic failures, decides to go to the United States with a backpack full of condoms, naively confident that American women will welcome him. The culmination is his return with three American women as if women were interchangeable commodities. The objectification of women in this storyline is unmistakable.
"Love Actually" demonstrates a need for male characters to learn how to express love appropriately. The critical question arises in this supposed love story: What is love, and how should one express it to someone they care about? Regrettably, many storylines in the film set incorrect examples.
After novelist Jamie separates from his unfaithful wife, he relocates to France and encounters Aurelia, a Portuguese-speaking housemaid. Despite their inability to communicate, Jamie feels drawn to her without understanding Aurelia's background, interests, or aspirations. In a contrived scene where Aurelia risks her life to retrieve Jamie's manuscript from a lake, Jamie interprets it as a declaration of love. However, Aurelia does not know the manuscript's content or value, making Jamie's claim to "deeply love" her questionable.
In another storyline, the Prime Minister develops a fondness for his maid and, witnessing the U.S. President's advances toward her, erroneously assumes an inappropriate relationship. Instead of investigating if the maid experienced harassment or tried to communicate with her, he promptly fired her. True love involves listening, communicating, caring, and empathizing, not jealousy, anger, or leveraging power to harm loved ones.
Lastly, there's Colin, who, oblivious to why women reject him, resorts to blatant sexual harassment in the workplace, greeting female colleagues with suggestive phrases. His inability to comprehend women's disapproval and his casual dismissal of a potentially serious issue highlights his lack of respect for women. The film seems to validate Colin's behavior, reinforcing a worldview where women are objects of desire without the option of respect.
What Christmas movies do I want to see?
The Bechdel Test, measuring gender equality in fiction, requires three criteria: at least two named women who talk to each other about something other than a man. Unfortunately, "Love Actually" does not pass this test.
My desired Christmas movie features distinct, loveable, and complex female characters. They are not overly sexualized, submissive, or solely focused on enticing men. They come in various shapes, sizes, and ages, with their passions, careers, flaws, and sorrows.
They are not limited to screen characters like those in "Pride and Prejudice," "The Marvelous Mrs. Maisel," "Deadly Women," "The Good Wife," or "Olive Kitteridge"; they are real women around us.
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