Rated PG-13 for thematic elements, sexual material, strong language, and some teen drinking
Some strong language
References to rape, predatory behavior
A theme of the movie
Date Released to Theaters:
March 3, 2021
“It’s so nice not to be on anyone’s radar,” Vivian (Hadley Robinson) says to her BFF Claudia (Lauren Tsai). It’s the first day of school and we might detect just a hint of wistfulness in her voice. Everyone is waiting for The Ranking, an annual list of female students selected based on how attractive they are. Some are selected based on how attractive individual body parts are. So, there are names attached to “Most Bangable,” “Best Rack,” “Best Ass.” And presumably the young women are supposed to feel flattered.
Vivian is shy and unsure of herself. Asked to write an essay on what she is passionate about and what steps she has taken to pursue it, she draws a blank. But we see in a dream she has the night before school starts, she has some strong feelings she does not know how to express. The arrival of a new student named Lucy (Alycia Pascual-Peña) will give her a new perspective and help her find her voice.
The school’s alpha male is Mitchell (Patrick Schwarzenegger), arrogant and predatory. But his behavior is dismissed by the school’s principal (Marcia Gay Harden as Ms. Shelley) and the students. When he finds he cannot intimidate Lucy, he becomes even more aggressive. Vivian tells Lucy to ignore him so he will move on to someone else. “Keep your head down,” she advises. Lucy says she will be keeping her head up, and Vivian for the first time considers how pernicious the behavior of Mitchell and his friends is. It is more than teasing.
Vivian is close to her single mom, Lisa, played by director/producer Amy Poehler. When Lisa says that at Vivian’s age she was trying to burn down the patriarchy (crucially, she admits that as engaged as she was, she made a lot of mistakes and was not as inclusive as she should have been). Vivian goes through Lisa’s old files and sees the “zine” she and her friends created. And so Vivian follows in that tradition (and in the tradition of “Bridgerton’s” Lady Whistldown and A in “Pretty Little Liars”), Vivian creates an anonymous zine called Moxie (1930s slang for spirited determination), calling out the behavior of the boys who publish the rankings and insult girls. She leaves copies in the girls’ rooms at school, asking everyone who supports her ideas to draw stars and hearts on their hands. And some of the girls too. So does one boy, Seth (Nico Hiraga of “Booksmart” and “Edge of Seventeen”).
“Moxie” is based on the novel by high school teacher Jennifer Mathieu, and you can see the lived experience of working with teenagers, at the same time righteous and vulnerable, in the film. At times, it becomes didactic, as though it is running through a checklist of abuse, and some of the items on that list (the right to wear a tank top to school) are out of proportion to the others. And the resolution in the end is far tidier than anyone who has seen or read about real-life cases will buy.
What works better is the portrayal of the strain on Vivian’s friendship with Claudia as she becomes closer in both the relationship and the style of Lucy. This is more than the usual teen drama about outgrowing childhood connections. It is about developing a deeper understanding and empathy, and that extends not just to Claudia, but to the other girls in the school as well. The emphasis on finding ways to support each other despite differences is well handled. The film should spark some important conversations, some second thoughts about the line between “boys will be boys” and recognizing and stopping damaging behavior. It even might inspire some stars and hearts, some zines, and other ways for girls to tell their stories.
Parents should know that this film concerns toxic masculinity and abuse ranging from insults and objectification to rape. It includes sexual references and some mild language.
Family discussion: Does this movie make you see some incidents at your school differently?
If you like this, try: “Nine to Five,” “Booksmart,” and the documentary “Roll Red Roll”
Daniel Arkin writes about Frances McDormand in “Nomadland” and the increase in movies about older women characters.
The film industry routinely casts “men of a certain age” as romantic leads or action heroes. But women over 50 tend to be relegated to supporting or one-dimensional parts, and major stars such as Meryl Streep and Nicole Kidman might be exceptions that prove the rule, Malone said.
“When we see older women, they’re in sideline roles with a lot of stereotypes around them and a lot of jokes being made at their expense,” Malone said. “They’re rarely shown to be at the center of stories as viable, complex characters.”
My thanks to Arkin for including me in the story:
Nell Minow, a film critic and expert in corporate governance, said she believes there has been more cultural oxygen available to small-scale and women-led projects during the coronavirus pandemic because leading studios were forced to postpone the release of many male-driven blockbusters.
“It’s been a bonanza for more intimate films like ‘Nomadland’ in many ways,” said Minow, pointing to Channing Godfrey Peoples’ “Miss Juneteenth” and Radha Blank’s “The 40-Year-Old Version” as examples of women-anchored projects that received welcome attention last year.
“I have realized that so much of the media I consume requires me to translate from the male point of view into something that speaks more directly to me,” Minow said. “When I see these movies, I can relax. I don’t have to translate anything.”
“It’s a cliché at this point to say ‘representation matters,’ but it makes me feel connected and listened to because I have something in common with these characters,” she added.
Director Julie Taymor has created a welcome remix of the standard movie biopic with “The GLorias.” It is spacious at nearly 2 1/2 hours and with four different actresses playing feminist icon Gloria Steinem (with the real Gloria herself appearing briefly at the end). At times Gloria is literally in conversation with herself, a lyrical depiction of the way we reflect on our past and our future.
Like the opening scene, these conversations occur on a bus, a literal and metaphoric representation of the experience of a woman who titled her memoir A Life on the Road. At one point in the film she admits she has spent no more than eight days at a time in her New York apartment, which she hesitates to refer to as her home. Her friends joke about staging an intervention just to get her to furnish it. This goes back to the beginning. There’s a reason she entitled her memoir, the inspiration for this film, My Life on the Road. She says in the book and slightly adapted for the movie, “When people ask me why I still have hope and energy after all these years, I always say: Because I travel. Taking to the road—by which I mean letting the road take you—changed who I thought I was. The road is messy in the way that real life is messy. It leads us out of denial and into reality, out of theory and into practice, out of caution and into action, out of statistics and into stories—in short, out of our heads and into our hearts.”
Taymor brings her remarkable visual style to the film. The scenes on the bus are gray-scale, with flickers of color outside the windows. In a breathtaking moment near the end, the interior of the bus is flooded with color, illuminating the immensely moving commitment to equality and opportunity that continues today. The four actresses portraying Steinem all have a quiet power rooted in empathy and integrity. Alicia Vikander plays her as a young women, told in her first interview for a job in journalism that only men write for the publication; women do research. She gets the editor to let her write, but when she asks to write a profile of the mayor of NY, he suggests she write about his wife. She goes undercover as a Playboy bunny waitress in the Playboy Club, but her expose (which did lead to the end of the practice of requiring the women to have gynecological exams in order to work there) made her colleagues think of her as a bunny, not an investigative journalist.
Her two great loves, writing and dancing, were both forms of communication without having to speak, a therapist tells her. But if the media would not allow her to write about the women’s movement (“What movement?” her editor asks), she would have to become its voice. Julianne Moore takes over as the older Steinem, and the film gracefully exemplifies one of the movement’s most-repeated slogans, “The personal is political,” as it weaves together key moments and characters on and off stage. Bette Midler and Lorraine Toussaint have just the right snap as Bella Abzug and Flo Kennedy. And Vikander and Moore bring great warmth to the role of a woman whose strengths were quieter.
The film achieves what is most likely Steinem’s greatest hope; it is both inspirational and reassuring in illuminating a path forward to a more just and inclusive world, and a powerful reminder that the most important ingredient for achieving it is to listen.
Parents should know that this film includes a brief crude caricature, brief graphic images and some strong language. There is a sad death and a character struggles with mental illness.
Family discussion: Why did someone call Gloria Steinem a “celestial bartender?” How was she influenced by her parents? Why did she decide to leave journalism? What has been her most significant influence?
If you like this, try: The documentaries Dolores, Gloria: In Her Own Words, “RBG,” “Sisters of ’77,” about the National Women’s Conference, and “Mrs. America,” about the backlash to the women’s movement. And read the biographies of Wilma Mankiller, Bella Abzug, and some of the other characters in the film
THE GLORIAS is available for purchase on Digital and Streaming exclusively on Prime Video starting September 30th.