https://youtu.be/KhvyupqNhL8

I could rightly be called a charlatan in making this admission but do know I aim to rectify this current state in the immediate future –  I am loathed to admit that I have never seen a Walt Stillman film. After LOVE & FRIENDSHIP, this will soon change. Thoroughly charming in every way, this Jane Austen adaptation of Lady Susan is a refreshingly female driven comedy that could turn even the most ardent anti-period filmgoers.
Its the 18th century meet Lady Susan (Kate Beckinsale – starring with fabulous flare in what seems, the first non-loathsome drivel for about two decades – yes, this includes The Aviator – while not drivel exactly, it’s still a bit of a slog and does omit some very interesting details about Howard Hughes, including his rampant racism); a deliciously manipulative seductress out to find a suitable suitor for her daughter and most importantly for herself. With devious cunning and womanly charm, she tricks those around her (including friend and foe) to navigate a position of favour with the most handsome and eligible Reginald De Cloucy (Xavier Samuel).

An acerbic film so crisp, you could cut yourself. The breezy running time of 92 mins feels even more swift but never rushed. The film’s spritely nature falls squarely at the oft hilarious script, full of quick witticism and wry observation. The dryness in the comedy has a very British feel, capably handled  by Stillman (who is American). There is plenty for both British and our ‘across the pond’ friends to enjoy with appearances from main-stay Stephen Fry and Justin Edwards (The Thick of It). But the biggest draw outside of the fantastic female contingent and within the put upon men is Tom Bennett, the most hapless Sir James Martin to his most well-known (and pretty hapless) “New Man”/ Christopher in Phoneshop (check it out if you can – work of art!).

On the face of it, Love could be seen as a misogynist’s dream  presenting women as the far more dangerous sex. But what makes this film such remarkable fun is the fact that Lady Susan plays plays them all. While the women in her world tend to be more wiser to her antics (she’s unable to use her beauty as a weapon) they still succumb. The Friendship in the title refers to her relationship with Alicia Johnson (a great Chloe Sevigny) her closest ally but also her biggest pawn. In the end the film is about the ways in which women navigate themselves within a patriarchal society. For Lady Susan, this isn’t a war against men per-say; but one against the world and she basically will take no prisoners on her quest to the top. She is the perfect Machiavellian anti-hero and is a delight to watch. Kate Beckinsale, relishing her role as puppet master did make one feel a little melancholic for her past film career. How different things would be had she accepted (or had access) to roles like this instead of <cough Underworld cough>. Still, to do as Lady Susan – onwards and upwards!

MUSTANG

Another but altogether different, more sobering tale of womanhood. While having been out in cinemas a little longer but will stay in the mind longer still, the bewitching Mustang has been billed as the Turkish Virgin Suicides. With a similar dreamlike sensibility to Suicides, Mustang also explores society’s  obsession and ‘preservation’ of female innocence; it would be ridiculous to not compare the two as they are both about the increasing confinement of a group of vibrant sisters as they peak into womanhood. Perceived indiscretions and the consequent attempts to curb the girls’ naturally healthy curiosities manifest itself to an actual prison for the sisters that will inevitably lead to ruin. However while Suicides was more about poetry and style, Mustang – through the remarkable performances of its stellar (and mostly inexperienced) young ensemble – is a much more honest portrayal of coming-of-age told through its own kind of lyricism.

Filtered mostly through the perspective of the youngest of the sisters – Lale – the story begins during the last day of school as the sisters play at the local beach withe some boys from school. News of this apparently unseemly behaviour travels fast as upon reaching home they are immediately set upon by their infuriated grandmother more afraid of local gossip than trusting her grandchildren. In a wave of fury she brutally submits the two oldest to a crude virginity test (thankfully behind a closed door) and bans all five from leaving the house. Things only get worse for the girls as all links to the outside world are banished under lock and key. Drab smock dresses replace modern clothes becoming their uniform whenever they are ever let out the house (under chaperone of either their grandmother or brusque uncle). Education also becomes a vice as the girls are removed from school and a parade of older female relatives come to the house to give the girls “real” education – being the perfect wife. See, the grandmother’s plan is to marry them off as early as possible. It transpires that her reasons why  are not wholly about preserving tradition but a terrible attempt to protect the girls.

What makes Mustang a marvel is the resilience and acts of rebellion this band of girl soldiers perform under unjust circumstances. The film tempers the horrors of the girls’ experience with levity as they slyly sabotage acts committed against them. This makes for a much more honest discussion about tradition versus modernity and the conflict that arises. The girl’ experience while specific on the surface (arranged marriage is not a western culture) the ideals and implications are universally felt.

The film lyrically explores different oppressions that more than half the population of the world endure. We women have every aspect of our lives policed, to acquiesce our autonomy as human beings, our own wants and desires to be a feminine ideal that can never be achieved. Mustang explores this in a literal sense and with astute observation. A particular scene that sticks in the mind has one of the sisters taken to the hospital to be examined because on her wedding night of her arranged marriage she didn’t bleed. The assumption made by the groom’s family is that she is not a virgin therefore sullied. Knowing she won’t be believed she nonchalantly proclaims to have slept with many men. After examining her, the doctor observes otherwise and asks her why she lied. With heartbreaking resignation she tells him her body effectively is no longer her own, she has been bought so whatever they want her to be she’ll be. She’ll be that harlot if it suits  – what does it matter?

Though this makes Mustang sound like first-time director Deniz Gamze Ergüven’s political manifesto about women’s rights, Mustang is not actually that. Ergüven creates realism amongst each of the sisters lending an individualism to each (bolstered by the cast’s natural performances) that the film is essentially about that moment when a child is cruelly thrust into the realities of adulthood. With a confidence and flare rare in a first feature, Ergüven paints a portrait of womanhood so tender and poignant  it would be hard not to be moved.

So there you have it, we have a relative cinematic rarity –  a selection of varied (in both tone and style) portrayals of womanhood on the big screen to be enjoyed. And I implore you to do just that. Both Love & Friendship and Mustang are in cinemas now!

You know what to do.
(Oh if you need a testosterone hit to even things out also watch The Nice Guys, also out now)