If you're new to Anne Marie's 'Women's Pictures' it's a weekly series that takes on a new female director each month. Previously covered: Ida Lupino, Jane Campion, Sofia Coppola and Agnes Varda. - Editor
Welcome to Kathryn Bigelow month!
Considering that July is traditionally one of the bigger blockbuster months, it seemed like the perfect time to delve into the career of one of the most famous female directors currently working. Undoubtedly, Bigelow is most famous for being the only woman to win an Academy Award for Best Director. In 2008, she and The Hurt Locker unexpectedly became the symbols of art "fighting back" against bloated CGI behemoths represented by Avatar, directed by her ex-husband, James Cameron. The irony of this is that before making smaller, serious war movies, Bigelow had made her name (occasionally working with Cameron) on action flicks. So, pop some jiffy pop, lie back in your recliner, and let's get ready for some gun fights!
...But maybe not just yet. Surprisingly, 1981's The Loveless is virtually devoid of any explosions, catch phrases, car chases, or fun. Co-directed and co-written by Monty Montgomery (who would eventually produce Jane Campion's The Portrait of a Lady), The Loveless is a biker movie that falls into genre cliches even as it tries very hard to shed them.
Willem Dafoe (in his first credited film role) plays Vance, one of a gang of bikers who stop in a small town to fix a bike on the way to Daytona in the 1950s. The presence of the oversexed, understimulated bikers sends violent ripples through the stifled town, but the movie takes a long time to build to its climax. First, there are scenes of nearly shirtless Dafoe staring moodily into the distance while smoking. There are homoerotic knife games between gang members. There are downright voyeuristic shots of the biker boys as they leer at women. It's a sex-obsessed movie, is what I'm saying. Just not in the way I expected.
There is either a lot going on in this movie, or nothing at all...