ps: Three more chapters have been blocked today.,Crying to death.,Now it's really all kinds of hard to write.,I accidentally crossed the line.

In 1985, Alison Beckeldel's newspaper comic strip published an article called "The Rule" in which an unnamed female character said she only watched movies that met the following three criteria: 1) two women must appear in the movie, 2) the two women had a conversation, and 3) they talked about something other than men.

Then the cartoon attracted attention, especially from feminists, and for a short time, for a time this rule became a short test dedicated to bringing gender inequality to the fore, showing the lack of representation of women in film works due to sexism, and these three conditional criteria are known as the Beckdel test.

In Hollywood, at least 45 percent of the films fail the Beckdel test, and even more than half of the films that win Best Picture at the most politically correct Oscars fail the test.

This shows how women's rights in the United States are neglected.

This also leads to the fact that once a film that meets the test conditions appears, female audiences can often burst out with great enthusiasm for watching the movie.

Anyway, according to statistics, movies that pass the test generally have a better ROI.

From this point of view, whether it is sleeping with the enemy or spending money at the end of the road, success is not accidental, but inevitable with objective factors.

Just like in the Crazy Flowers of the End, the opening shot shows all kinds of people in the town, and these are almost all female characters. The film unfolds from the perspective of women's daily life, and their dialogues and life aspects show a situation of women at that time.

It is this ubiquitous perspective from the perspective of female audiences, vivid characters and delicate psychological portrayals that inspire the resonance of female audiences without losing humanistic care.

Compared with sleeping with the enemy, the feminist consciousness in the Crazy Flower of the End is much stronger, and the presentation to the audience is more straightforward.

For example, Louise exchanged all the jewelry on her body for an old man's cowboy hat, such as a white vest and a cowboy hat, Selma's cleverness to rob a store that she learned and sold, and the explosion of fuel tankers for an apology is also very happy, they drive a Thunderbird convertible in the wind and sand, chic and wanton like a western cowboy, Brad Pitt plays the little white-faced and liar JD who takes off the wedding ring on her left ring finger on the grounds that there is too much metal to reduce the burden when playing a game with Selma, describing the shackles of an unhappy marriage as lightening the burden, in addition to many other plots that symbolize women's rights.

The female dialogues and psychological descriptions in the Crazy Flower of the End are also textbooks, from which we can get a glimpse of some women's common thinking: they are not nannies who do housework every day, and they are not vases who only know how to dress up.

They will be frigid, they will give a lot for their family and love, and they need love and attention. At least respect: later when you see a woman crying like that, she is not happy.

Although there are many movies about women's rights, "Crazy Flowers of the End" has the characteristics that it can best draw the audience closer - ordinary.

Yes, not like the ordinary who sleeps with the enemy .

There are two biggest differences between the Crazy Flower of the End and the sleeping with the enemy released in the early stage.,The first is the strong and straightforward promotion of women's rights mentioned above.,The two heroines in the Crazy Flower of the End of the Road.,Not like the big mouth Zhu who slept with the enemy, they will only escape.,In the end, I had to kill my husband.

The two of the Crazy Flowers of the End have already begun to take the initiative to attack the men, and they have changed from the defender, the weak side, to the attacker, the dominant side.

The other is ordinary.

Dazui Zhu, who slept with the enemy, was married to a middle-class person with a good income, so when she was not living well, she felt that material things were not all the time, and she could choose to live a secluded life in a simple, underdeveloped town.

And the two heroines in the Crazy Flower of the End are ordinary ordinary people, not the middle class, they themselves are at the bottom of society, one of them is a restaurant lady, the other is a housewife, both are blue-collar class.

How can they escape if their lives are unsatisfactory?

There's no escape.

So, when Louis accidentally kills the man who tried to rape Thelma, the two have no choice but to embark on a crazy journey and become a pair of doomed flowers.

And this is also the place that most attracts the majority of female audiences and evokes the resonance of male audiences, just as Fbaylou's realist masterpiece "Madame Bovary" is as close to the female psyche, "Flowers of the End" may not be the most "feminist" movie, but it is easier to resonate.

More than half of the audience is 25-40 years old, because women in this age group are the main supporters of the women's *** movement.

From this point alone, we know that at least for certain groups of people, the end of the road is extremely successful.

Regarding this point, Roger Albert, the most famous American film critic, commented: The film has gained strong resonance among female audiences of all ages, which shows that there is a great market for film and television works that challenge social authority. It's just that this time the challenger was replaced by a woman.

Yes, the challenger this time is a woman.

Even in the evaluation of the Crazy Flower of the End, there is no disagreement that this movie is actually not a feminist movie, but anti-feminism, because the main characters become violent and masculine.

It is said that they have abandoned their femininity and taken the form of so-called masculinity against each other.

They seem to have jumped into a male-constructed cultural system, succumbing to the output of male discourse and subservient to men in a way that assimilates with men.

But there isn't much market for such an argument.

Because for feminists or women, it doesn't matter what the specific views expressed in the film are, or what the directors and screenwriters think when they are creating.

Important feminists, or women, themselves see what in the film.

Yes.

Whether it is feminist or not depends on the woman's own point of view.

It doesn't matter what others say about this movie as anti-feminist, the important thing is that women feel that this movie expresses an accusation and rebellion against the status quo that men dominate society and women can only survive.

In the movie, two women are put into a standard western scene, which is full of elements of the ordinary male world, such as wilderness, hills, hormone bars, cowboy hats, pistols, smoking, and so on.

Some people think that this is the assimilation of women, and the so-called rebellion is just masculinization in disguise.

But for feminists, these are just indictments of male power, and it is the two female protagonists who grasp and tease a series of symbols of masculinity.

Therefore, when the enthusiastic and brisk melody in the theater and the lyrics of "You are a part of me, I am a part of you, no matter where we go, no matter what hardships we go through, no matter how time washes away, the feeling at this moment will never change......", Louis and Selma drove the Thunderbird and flew off the cliff resolutely, and when the unfairly treated women recklessly let out a cry to tear the sky, the box office of the Crazy Flower of the End exploded.

The opening weekend box office was $14.1 million, beating the entire $1 million over sleeping with the enemy.

Two feminist movies in succession completely detonated the feminist consciousness of American women in 1991, and even women running for congressmen talked about the end of the road.

As a result, the first-week box office earned $35 million, once again beating the first-week box office results of sleeping with the enemy.

Of course, it's not just the end of the road that has benefited, but the box office, which has been in theaters for more than a month, has also rebounded considerably.

It's clearly a win-win situation, both for women and for both films.

Seeing that playing the feminist card is so profitable, various film companies will naturally not watch it, and have begun to launch their own film projects focusing on women's rights.

MGM is naturally making persistent efforts here, taking advantage of the feminist dividend, and hurry up to get a few more.

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Thanks to the book friend Yuchen 888 for his 100 coin reward.