Girlfriends (1978) is a neorealist, female driven pre-cursor to the modern ‘mumblecore’ genre. What is clearly an influence on contemporary directors, Greta Gerwig, Noah Baumbach and the Duplass brothers, Girlfriends (1978) is a an overlooked gem from the late 1970’s. Whilst Martin Scorsese is diving into the depths of masculinity through Taxi Driver (1978), Claudia Weill gives an insight into what is means to be a woman in late 1970’s America. What makes this film such a rarity is the female presence throughout its production. With a pioneering director and producer in Claudia Weill, and a screenplay written by Vicki Polon, Girlfriends (1978) is a uniquely feminist piece from a period in cinema that was dominated by the male perception of the world. For that, Girlfriends (1978) is a breath of fresh air.
The superb Melanie Mayron plays Susan Weinblatt, a photographer who starts to live alone after her best friend, Anne (played by Anita Skinner) moves out to be married. The films main focus is Susan’s journey as a photographer and her distancing relationship with Anne as she pursues her own career. Mayron’s performance is excellently subtle leaving no doubt that Susan is real. Weill’s inspiration for the film was that she wanted to see a character that was like her on the screen. Susan is perhaps unique in comparison to her contemporary’s, she is almost comfortable in her awkwardness and isn’t afraid to assert herself and make her own decisions. In one scene, after spending the night with Eric, she tries to sneak out of his flat to go home. When Eric questions her, instead of bowing to his assertion that she stay the rest of the night, Susan doesn’t hesitate to insist that she’s leaving.
Susan’s inner conflict is that she struggles between wanting to be independent and wanting a boyfriend. Vicki Polon strives to portray her characters as realistic as possible while still finding some humour for audiences. The epitome of this is an argument between a couple that is started over mashed potatoes. Girlfriends never spoon feeds the audiences with the characters feelings and motivations, instead, they’re shown to us through everyday moments. An argument over mashed potato, a connection over genuine interest, a connection through loneliness and lust. Girlfriends never sacrifices the realistic core of the film. When the credits roll, the characters will continue their lives off-screen, continuing to live and grow.
Through comedy, Weill shows the subtle and common side of how innately misogynistic society is. Although blatantly a feminist film, it doesn’t strive to be this beacon of feminism, it’s just naturally a story about real women, created by women. As much as this film is driven by characters, it is also an observation of society. As audiences, we see Susan’s world, where casual misogyny is an everyday occurrence, where being complimented professionally ends in “young lady”. It’s a nuanced side of misogyny that is rarely seen on film from this period. It’s not full of men bashing women but packed with micro-aggressions.
Weill uses the small budget and her documentarian background to create a believability in the characters and staging that feels heavily inspired by the French New Wave. It’s the realness of the piece that makes this a timeless production, that is as culturally relevant now as it was when released. It’s a personal and sensitive piece that was crafted out of passion that can be felt in every frame. Without spoiling, Weill doesn’t compromise her vision for what could easily have been a traditional Hollywood ending, instead, she never compromises the message or themes of the piece. With such a tight 88 minutes full of subtlety, Girlfriends (1978) can be viewed multiple times, finding nuance in every scene and interaction. As audiences, we might have the pleasure of seeing the world through the eyes of Susan, but the realisation that her world is ours is one that will stay with you.
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