(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“After being attacked and raped twice in one day, a timid, mute seamstress goes insane, takes to the streets of New York City after dark, and randomly shoots men with a .45 caliber pistol.”
I’m going to kinda/sorta dispel the myth long associated with Ms. 45 that some readers might find objectionable: it both is and isn’t a ‘Rape Revenge’ film. Now, this is a small distinction, but I think it’s critically important in understanding just how the project fits uniquely into its own slot in film history, maybe even making it a bit more worthy of further consideration by those who prefer to spend time both thinking and writing about film.
Generally, the Rape Revenge film introduces audiences to an anti-hero – predominantly female – who suffers an egregiously violent sexual assault. The woman eventually recovers – no easy task given what’s been done to her – and then she goes about enacting what she perceives as a necessary form of punishment on her assailants. The payback is equally bloody and grim, taking on the feel of physical torment – if not outright torture – not unlike the trauma she experienced. Furthermore, our crusader more often than not murders those who did her wrong in the process of retribution, insuring that those wrongdoers will never have the chance to do anything similar again.
Additionally, our original victim may or may not have gone to the authorities, a key variance in some flicks but not always relevant to the tale being told. Yet, on the occasions when the police have been contacted, they generally fail to do anything substantive to see her attackers brought under heel. Sometimes this is attributed to a sense that the authorities determine the victim should’ve known better – the truest ‘Rape Revenge’ films are the original ‘victim shamers’ – or that she somehow deserved the attack as a product of her own negligence. In some films, it’s this step – the failure of the legal system – which serves as the catalyst for her to go ‘lone wolf,’ but again it’s important to note that not every Rape Revenge picture uses the same ingredients equally. Stories vary widely as they should.
What allows Ms. 45 to stand on its own is the fact that after Thana (as played by Zoë Lund) – a mute seamstress working in the heart of New York’s garment district – is raped not once but twice in the same afternoon: in concert, these experiences cause the young woman to suffer a psychological breakdown. From this point forward, she’s no longer herself, and she’s personally compelled to violently go after ALL MEN. In fact, Thana never finds nor even seeks her original rapists; instead, she’ll target any man over simply for what she perceives as the sin of being male. You see, she lives in a world she sees subjected exclusively to ‘The Patriarchy,’ and her ‘revenge’ isn’t so much moral reprisals imposed as a form of penance but rather punishment for men being born male. Of course, a few of these men make some serious errors in judgment. Yes, a few of them are obvious misogynists and perhaps not even fit to share space with any woman. But come the film’s big finish, Thana is merely acting out solely via her mental lapse and slaying any male at arm’s length; and, for this reason, she’s likely not going to be celebrated in any way for what she did.
From the film’s IMDB.com page citation:
“After being attacked and raped twice in one day, a timid, mute seamstress goes insane, takes to the streets of New York City after dark, and randomly shoots men with a .45 caliber pistol.”
I’m going to kinda/sorta dispel the myth long associated with Ms. 45 that some readers might find objectionable: it both is and isn’t a ‘Rape Revenge’ film. Now, this is a small distinction, but I think it’s critically important in understanding just how the project fits uniquely into its own slot in film history, maybe even making it a bit more worthy of further consideration by those who prefer to spend time both thinking and writing about film.
Generally, the Rape Revenge film introduces audiences to an anti-hero – predominantly female – who suffers an egregiously violent sexual assault. The woman eventually recovers – no easy task given what’s been done to her – and then she goes about enacting what she perceives as a necessary form of punishment on her assailants. The payback is equally bloody and grim, taking on the feel of physical torment – if not outright torture – not unlike the trauma she experienced. Furthermore, our crusader more often than not murders those who did her wrong in the process of retribution, insuring that those wrongdoers will never have the chance to do anything similar again.
Additionally, our original victim may or may not have gone to the authorities, a key variance in some flicks but not always relevant to the tale being told. Yet, on the occasions when the police have been contacted, they generally fail to do anything substantive to see her attackers brought under heel. Sometimes this is attributed to a sense that the authorities determine the victim should’ve known better – the truest ‘Rape Revenge’ films are the original ‘victim shamers’ – or that she somehow deserved the attack as a product of her own negligence. In some films, it’s this step – the failure of the legal system – which serves as the catalyst for her to go ‘lone wolf,’ but again it’s important to note that not every Rape Revenge picture uses the same ingredients equally. Stories vary widely as they should.
What allows Ms. 45 to stand on its own is the fact that after Thana (as played by Zoë Lund) – a mute seamstress working in the heart of New York’s garment district – is raped not once but twice in the same afternoon: in concert, these experiences cause the young woman to suffer a psychological breakdown. From this point forward, she’s no longer herself, and she’s personally compelled to violently go after ALL MEN. In fact, Thana never finds nor even seeks her original rapists; instead, she’ll target any man over simply for what she perceives as the sin of being male. You see, she lives in a world she sees subjected exclusively to ‘The Patriarchy,’ and her ‘revenge’ isn’t so much moral reprisals imposed as a form of penance but rather punishment for men being born male. Of course, a few of these men make some serious errors in judgment. Yes, a few of them are obvious misogynists and perhaps not even fit to share space with any woman. But come the film’s big finish, Thana is merely acting out solely via her mental lapse and slaying any male at arm’s length; and, for this reason, she’s likely not going to be celebrated in any way for what she did.
Structurally, Ms. 45 – as directed by Abel Ferrara from a script by Nicholas St. John –strongly resembles one of Martin Scorsese’s earliest theatrical accomplishments: 1976’s Taxi Driver starred a young Robert De Niro in the role of Travis Bickle, a mentally unstable Vietnam War veteran who spends his evenings patrolling the dangerous underbelly of New York City in his cab. Witnessing the endless parade of debauchery and depravity convinces this trouper to, ultimately, wage a one-man campaign against those he sees as sources of evil on his streets. In his last big act of valor, Bickle does accomplish taking down some very unsavory characters while saving the life of the young Iris (Jodie Foster): in comparison, Thana essentially becomes nothing more than Ms. 45’s central villain by recklessly murdering all males – guilty or innocent – in close proximity, and she’s ultimately struck down when stabbed by a shocked female coworker.
Oh, the irony!
None of this is to suggest in any way that Ms. 45 – despite being somewhat flawed in its messaging – isn’t worth the time because nothing could be further from the truth. Ferrara – as a director – is no slouch, and he peppers the film with some interesting ideas and imagery throughout, the kind of thing that our cultural betters like to debate the meanings of. There’s a strong current of Feminism rather obviously and sometimes lazily running through the picture, and I think that’s worth considering along the way. But objects like masks and food and clothing serve more than a single purpose in here. Gender roles are laid bare, and the project definitely gives audiences something to think about. Were I so inclined, I could pen an entire essay about the significance of the apple to fill up space. Still, nothing replaces the fact that neither Travis nor Thana are functioning with a full deck of cards: as such, they’re unreliable narrators – Thana more so because she’s mute and gives us so little to go on regarding how she might feel about her efforts – and not be taken seriously.
Ms. 45 (1981) was produced by Navaron Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I can still assure readers that this 4K restoration truly looks and sounds great: there are some quirks here and there with the audio that I noticed – a dip in quality in spots but some of it may very well have been intentional as it relates to some mildly graphic scenery. Lastly, if you’re looking for special features? The disc boasts an audio commentary track from scholar Alexandra Heller-Nicholas (it’s good but not very film-specific a great deal of the time) along with some interviews, essays, and the usual fare (trailers, images, etc.). There’s definitely an assortment that should keep fans busy for some time.
Recommended.
Undoubtedly, 1981’s Ms. 45 shares a lot of the same DNA that fuels Martin Scorsese’s Taxi Driver (1976) with some key narrative differences. First, it’s exclusively a female point of view. Second, it’s equally exploitative about moral decay and the human/inhuman response to it. Third, both stories revolve around increasingly independent people who’ve lost a good deal of the marbles, respectively. Lastly, both are grounded in the exploration of vigilante justice. Where they diverge, however, is that the character of Thana and her action throughout – while some might argue are noble – rely heavily on entrapping individuals who would or might do her harm. In the finale, she grows increasingly detached from targeting authentic wrongdoers and, instead, focuses exclusively on waging a gender war regardless of any evidence of criminality whatsoever. While Travis Bickle may’ve ended up being celebrated for his efforts, I can’t see the same happening for Thana.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of Ms. 45 (1981) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Oh, the irony!
None of this is to suggest in any way that Ms. 45 – despite being somewhat flawed in its messaging – isn’t worth the time because nothing could be further from the truth. Ferrara – as a director – is no slouch, and he peppers the film with some interesting ideas and imagery throughout, the kind of thing that our cultural betters like to debate the meanings of. There’s a strong current of Feminism rather obviously and sometimes lazily running through the picture, and I think that’s worth considering along the way. But objects like masks and food and clothing serve more than a single purpose in here. Gender roles are laid bare, and the project definitely gives audiences something to think about. Were I so inclined, I could pen an entire essay about the significance of the apple to fill up space. Still, nothing replaces the fact that neither Travis nor Thana are functioning with a full deck of cards: as such, they’re unreliable narrators – Thana more so because she’s mute and gives us so little to go on regarding how she might feel about her efforts – and not be taken seriously.
Ms. 45 (1981) was produced by Navaron Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I can still assure readers that this 4K restoration truly looks and sounds great: there are some quirks here and there with the audio that I noticed – a dip in quality in spots but some of it may very well have been intentional as it relates to some mildly graphic scenery. Lastly, if you’re looking for special features? The disc boasts an audio commentary track from scholar Alexandra Heller-Nicholas (it’s good but not very film-specific a great deal of the time) along with some interviews, essays, and the usual fare (trailers, images, etc.). There’s definitely an assortment that should keep fans busy for some time.
Recommended.
Undoubtedly, 1981’s Ms. 45 shares a lot of the same DNA that fuels Martin Scorsese’s Taxi Driver (1976) with some key narrative differences. First, it’s exclusively a female point of view. Second, it’s equally exploitative about moral decay and the human/inhuman response to it. Third, both stories revolve around increasingly independent people who’ve lost a good deal of the marbles, respectively. Lastly, both are grounded in the exploration of vigilante justice. Where they diverge, however, is that the character of Thana and her action throughout – while some might argue are noble – rely heavily on entrapping individuals who would or might do her harm. In the finale, she grows increasingly detached from targeting authentic wrongdoers and, instead, focuses exclusively on waging a gender war regardless of any evidence of criminality whatsoever. While Travis Bickle may’ve ended up being celebrated for his efforts, I can’t see the same happening for Thana.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of Ms. 45 (1981) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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