![]() Her films linger on girlish pleasures, the camera gliding over shiny jewels and furry stiletto heels, not simply dismissing them as stupid. But she also takes her time to get under the skin of her female characters, so that we also come to sympathise with them, and understand their feelings.įrequently, we are shown characters in tears of frustration or despair, as the gaudy objects they are offered are insultingly inadequate to the task of making up for their oppression or neglect. She offers us traditional images of women for us to gaze on - sunbathing, applying make-up, lounging around, pole-dancing, ice-skating, dressing up, dancing. Time and again, then, Coppola makes films that might seem on the surface to be as delicate and pretty as the macarons that Marie Antoinette shares with her friends. Coppola shows us how girls attempt to find meaning in the objects they are told should please them - shoes, dresses, make-up - and how in the end the stuff itself seems overwhelming and confusing ( Marie Antoinette The Bling Ring). ![]() Other times, they have outgrown this role, and, abandoned by husbands who are uninterested in them, or incapable of seeing them as people, struggle to find an identity of their own ( Lost in Translation Marie Antoinette). Sometimes, girls are objects of boyish lust and fantasy, as in The Virgin Suicides. ![]() ![]() ![]() In all of her films, Coppola shows us how girls are contained within worlds that, while they may look like they are idyllic havens, stifle them. ![]()
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