BirdsofPrey is a comic book film that is quietly yet profoundly different, not in the story it shares but in how it is told
is a comic book film that is quietly yet profoundly different, not in the story it shares but in how it is told. From director Cathy Yan, screenwriter Christina Hodson and star and producer Margot Robbie,is one of the more cognizant and thorough deconstructions of the male gaze to hit recent mainstream cinema, particularly as it relates to the superhero genre.
It is in the subtle, thoughtful details reinforcing the concept of Harley’s self-ownership throughout that ultimately speak the loudest. The film puts its money where its mouth is in ways that reverberate through all aspects of production, from the sets to the costumes to the cinematography. It is not merely a story about Harley, but hers to tell, not muse but author.
scrawled in what is clearly supposed to be her own handwriting. It is pervasive in the telling, in her character narrating the film, in the gleeful scrambling continuity, jumping back and forth, starting and stopping. And the villain Harley has to outwit? A crime lord who lives in an apartment where the wallpaper is patterned with bound, naked women in repose.’s consideration on this front boils down to a tale of two shirts.
When you’re a girl growing up caring about superhero movies and you see girls and women in those films treated in this fashion, it leaves a profound impression. It is not the existence of this gaze that does the damage but seeing it in constant repetition. The point is not that straight men should not be allowed to fantasize or that all the male gaze laden comic book films of yore — and all those undoubtedly yet to come — should be burned in ceremonial pyres. The “Daddy’s Lil Monster” shirt makes a cameo in ; Harley insists on keeping it. For sentimental reasons, she says. That shirt and all it represents do not need to be destroyed. It can be kept and even recalled fondly. The point is that there needs to be room at the table for everybody else.
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