Female fame through a male lens
. These films similarly explore the stardom of female vocalists, though perhaps are even further in difference than Cooper and Corbet’s films. Yet all four dabble in faulty feminine validation, and bear the pockmarks of female personalities filled in by pop culture tropes, recalling a recurring disconnect in the history of movies about female musicians -- some more cringe-worthy than others.
Of the four features, Minghella’s feel-good vindication of Fanning’s Violet is arguably the least challenging. Meaning it's also the easiest to digest. It’s telling that the musical sequences are the most compelling aspects of the movie.
It’s in this context that audiences truly connect with Violet, who is otherwise awkward, catty and, at her worst, embittered. Instead of authentic character development, we merely get improved performances, Violet’s complexity is premised on her singing ability and the frustrations related to the unlocking of its full potential.
So just like that, Violet goes from waiting tables to signing record deals in a pink fur coat. It’s not that fame doesn’t necessarily work in this magical way , the problem is thatso uncritically buys into the value of fame as a sort of divine justice for the talented. It’s a touching myth when attached to a sympathetic young face, but also a hollow one that betrays Minghella’s simplistic appraisal of how a woman might achieve self-realisation.
Nevertheless, the recurrence of male fascination with female stardom evinced by these four directors points to a questionable trend that extends decades back. The three past iterations ofdirected by William Wellman , George Cukor , and Frank Pierson come to mind, but also Bill Condon’s story of a trio of black songstresses,
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