The Bechdel Test, crafted in 1985, has served its purpose in film.
It succeeded as a primary framework for analyzing gender disparities in film, but its continued use harms modern women and film at large by limiting women’s characterizations on screen.
Through only three qualifications, the Bechdel Test seeks to determine whether a film portrays women as human beings with lives that don’t revolve around men. These three qualifications are: a film includes at least two named women characters who have at least one conversation not concerning men.
Although this seems like a solid formula to determine a film’s appreciation and comprehensive portrayal of women, it’s outdated.
Film reflects the human experience. The landscape of film and understanding of what it means to be a woman has shifted. The Bechdel test’s outdated criteria create an important conversation on how modern society should view women.
Issues With Intersectionality
The first issue with the Bechdel Test is its usage to critique and analyze all films, hoping to hold all movies to one standard. This is problematic because not all films require women for meaningful narratives.
For instance, the Oscar-winning film “Moonlight” failed the Bechdel Test on two accounts. While “Moonlight” did feature two female characters, they never speak to each other. Although the film fails to meet the requirements, its narrative of the Black, queer experience was ground-breaking.
“Moonlight” was not a film that required female representation, as it focused on authentic, complex relationships for the protagonist, Chiron. Therefore, the Bechdel Test doesn’t consider the full cultural and social contexts of film.
Rather than a test solely focused on measuring women in all films, there must be a shift towards the intersectionality of all disparaged people. However, if a film chooses to include women, their role shouldn’t be solely for a man.
All About Men
The second problem with the Bechdel Test is that it focuses too closely on the relationship between men and women. The main argument of the test is that women should be represented in films with independent identities and lives from men. While this is a prevalent element of modern feminism, the Bechdel Test reduces the complexity of women to single interactions rather than measuring the depth of their character, instances of intersectionality and their role within the film.
Christopher Nolan’s “Oppenheimer” is an excellent example of poor female representation. Critics of “Oppenheimer” were quick to point out the film failed the Bechdel Test, leaving both Emily Blunt and Florence Pugh’s characters with nothing but a “clothesline.” Even worse, some argue Florence Pugh’s role as Jean Tatlock, one of Oppenheimer’s partners, was “reduced to a one-dimensional sex object.”
Megan Fox: A Case Study
A third issue with the Bechdel Test is that not all test-passing movies accurately and holistically portray women. Take “Transformers” as an example. In the film, Mikaela and Judy Witwicky remark on each other’s beauty. Although brief, “Transformers” manages to pass the Bechdel Test.
However, a measure that only accounts for one singular desired conversation about men doesn’t acknowledge further necessary components for accurate representation. Throughout “Transformers,” Mikaela, played by Megan Fox, is hypersexualized and always revolves around the male lead, Sam.
With a decorative role, Mikaela is limited to meaningless conversations with other female characters. The film offers illegitimate depth with no complexity or autonomy for its female cast.
Even in an interview with Wonderland magazine, Fox bashed Michael Bay, director of “Transformers.” Fox said she was uncomfortable with the lascivious filming preferences. Since her roles in films like “Transformers” and cult-classic “Jennifer’s Body,” Fox has continued to speak against the early sexualization of young actresses. In an interview with Jimmy Kimmel, she calls the film industry “ruthlessly misogynistic.”
Considering Depth and Complexity
A new test must be established to assess the depth and complexity of female characters.
If film buffs seek to acquire true representation, there must be a focus on their narrative developments and motivations according to the plot. Narrative development can be measured by a character’s influence on the plot. For example, Hermione Granger in “Harry Potter” is not the main protagonist, yet her actions are central to the plot and drive the story forward.
Analyzing a female character’s autonomous decisions, actions and change would focus on her importance to the overall story. Furthermore, analyzing female characters and their relationship with other female characters is imperative. Women’s relationships with one another are central to women’s empowerment, support and growth.
Greta Gerwig’s “Little Women” serves as a great example of a holistic representation of women in cinema, as the driving themes are sisterhood and self-discovery. As the March sisters age, their evolving relationships foster opportunities for personal growth. The oldest sister, Meg, ends up married young. In contrast, the second oldest, Jo, becomes a successful author, as she had dreamed. This difference in Meg and Jo’s lives highlights how women can have different, complex priorities.
Throughout the film, the girls provide emotional support and speak about their struggles and dreams. Their relationships are key to the plot because the growth of all four sisters is reflected and influenced by each other.
A New Measurement: The March Test
If a film chooses to have women as leading or supporting characters, directors must adhere to a new test to ensure accurate and positive female representation.
The focus in measuring gender disparity in film must prioritize the character’s narrative significance, personal complexity, growth and quality of woman-to-woman relationships. Rather than numerical requirements, those analyzing film should think holistically about female characters in film.
One must consider if the female character has her motivations, emotional complexities, growth, narrative impact and deepened relationships with other women.
When films portray women who are stereotypical, male-centered or not emotionally complex, it further marginalizes them. Film is a pillar of social change, and critics, casual viewers and directors must demand and create projects that dismantle gender disparity. Filmmakers can reshape how women are seen, not just in film, but in modern society.
Women need characters who reflect truth rather than simply checking boxes.
