Similarly, Nux (Nicholas Hoult), one of Joe’s warboys, is transformed by his love for Capable (Riley Keough). Exiled from society by madness, grief and his general need to ramble, he is redeemed by mother’s milk (in which he literally bathes at one point). Max, haunted by the image of his daughter, is the Han Solo cowboy. In Fury Road, the women are blameless, opening the way for the male saviour familiar from action films and westerns. WIP films also traditionally include numerous evil female wardens and bad guys. Prison is wrong and oppressive in these films, even when it is used against people who aren’t law-abiding. Yet we’re supposed to sympathise with her anyway, and with Maggie (Juanita Brown) in Caged Heat even though she’s enthusiastically criminal. In The Big Doll House, Collier (Judy Brown) seems at first to be a weak innocent, but we soon find out that she killed her husband after finding him sleeping with the houseboy.
Unlike Fury Road, WIP exploitation films are notable for their refusal to treat the women prisoners as good or pure. Like The Handmaid’s Tale, it’s a dystopia that imagines white women in the future suffering from the oppression visited on women of colour. As a result, it ends up appropriating black experiences of exploitation. Fury Road, on the other hand, reserves its main roles for white women.
WIP films since the 1970s have detailed how patriarchy and prison target women of colour. The diversity on Orange is the New Black is not an innovation. Photograph: Netflix/Courtesy Everett Co/RE Natasha Lyonne, Kimiko Glenn and Laverne Cox. The end of the film is foreshadowed directly in Jonathan Demme’s cult WIP classic Caged Heat. So is their growing battle-hardened resourcefulness and, for that matter, their commitment to feminist revolution. The fact that those freed prisoners all look like supermodels dressed in lingerie is a standard WIP trope. Furiosa (Charlize Theron) is freeing a group of women from sex slavery at the hands of the evil patriarch Immortan Joe (Hugh Keays-Byrne).
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The whole movie is organised around a prison escape. But much of it has been lifted directly from that genre. And now, Mad Max: Fury Road is winning accolades from virtually everyone for its high-octane vision of feminist heroism and patriarchy upended.įury Road hasn’t generally been thought of as a WIP film.
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Orange is the New Black has garnered widespread acclaim for both its storytelling and its diverse cast the Australian series Wentworth set new standards for brutality on the small screen. Who would have thought that “women in prison” films, one of the most despised exploitation movie subgenres, would become so influential? And yet, stealthily, the films have permeated popular culture in recent years.
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