It used to be that when one thought of stock characters in film and TV fantasy, several archetypes came to mind: a noble hero, an amusing sidekick, a wise old man, a monstrous villain, and, of course, the damsel in distress.
In short, men acted while women watched.
If a woman had any power of her own, this was likely due to her being a wicked sorceress, because if a woman is independent, then it certainly means she must be evil. For centuries, this was the accepted paradigm.
But then something happened.
Most contemporary fantasy fans know the story: in 1995, Xena: The Warrior Princess jump-kicked onto the airwaves, featuring a lead heroine armed with a razor-sharp Aerobie and a biting wit, sword-fighting and ululating her way across our television screens each week. Xena was a new breed of fantasy heroine. An anti-damsel-in-distress, Xena was unequivocally tougher than most of the men with whom she engaged in battle, and indeed often rescued less able men from danger, subverting the old gender roles. For a genre packed to the gills with helpless maidens, she was a breath of fresh air.
Two years later, another iconic fantasy heroine staked out some new ground. Buffy the Vampire Slayer reintroduced the world to Buffy Summers, first seen in the flop 1992 film of the same name. Armed with an arsenal of medieval weapons and a collection of puns of debatable merit, Buffy hacked and slashed through hundreds of creepy crawlies throughout the course of the series, with nary a hair out of place.
Both shows ended their runs in the early 2000’s, but their popularity remains, as evidenced by their legion of fans and annual conventions held in their honor. But it is in their influence on female characters in contemporary fantasy that one can see how the legacies of Buffy and Xena truly endure.
And that influence is vast. When one takes a look back at some classic fantasy films, one can find a slew of weak, flaccid women who exist for no other purpose than to be rescued and to titillate the male viewers. Take, for instance, the exquisitely beautiful but woefully foolish Lili (Mia Sara) in Ridley Scott’s 1985 film Legend. She sure looked great standing next to that unicorn, but ultimately her character was little more than a plot device to spur her companion Jack (a pre-thetan Tom Cruise) into action.
Harry Hamlin was a dashing Perseus in Clash of the Titans, while his bride-to-be Andromeda (Judi Bowker) mostly sat on the sidelines until the final act, when she was set to be sacrificed to the Kraken, a sea monster. Fortunately Perseus saved the day by swooping in on a winged steed. (You really can’t ask for a better entrance.)
We all know The Princess Bride is a grand romantic swashbuckling adventure, but was it really so great for Princess Buttercup (Robin Wright Penn)? Throughout the film she gets captured, recaptured, force-married, and ultimately rescued by her handsome Westley (Cary Elwes). Surely she was itching to take part in some of the movie’s infamous swordfights.
Antiquated, pre-feminist ideas of women perpetuate these movies. And they were made in the 80’s! Fortunately for female characters and the men who love them everywhere, the advent of a world post-Xena and Buffy promised a new beginning.
And it has begun. Nowadays, women do get their shots in, almost as a rule. Name a fantasy movie made since the late 90’s, and chances are it has a strong female lead.
Who can forget the gravity-ignoring aerial antics of Yu Shu Lien (Michelle Yeoh) and Jen (Ziyi Zhang) from Crouching Tiger, Hidden Dragon? Twice these characters dueled one-on-one with no men in sight. Both women prove themselves to be fighters at the top of their game, besting almost all of the men they come into contact with.
The re-imagined Catwoman, universally panned though it was, featured a new take on the character (played by a mannequin that bore a striking resemblance to Halle Berry) and endowed her with some seriously brutal capoeira skills, which makes you wonder how Eartha Kitt managed to pull off all that cat-crime just by being sexy.
The X-Men movies are filled with strong women unafraid of throwing down even with the likes of Wolverine, such as Mystique (Rebecca Romijn) and Deathstrike (Kelly Hu). Padme Amidala (Natalie Portman) led a charge to retake her castle in Star Wars: The Phantom Menace, and held her own in a gladiator pit in Attack of the Clones.
Keira Knightly gets honors for playing two fierce ladies: Elizabeth Swan in the Pirates of the Caribbean movies, and a seriously buffed-up version of Guinevere in 2004’s King Arthur.
Another double-header is Kate Beckinsale. She kicked some serious fang as Selene in the Underworld movies, and it was fun to watch her at least try it shock some life into the corpse that was Van Helsing.
And then there’s the big mama of all genre pictures. In December 2001, a tiny, low-budget indy film called Lord of the Rings: The Fellowship of the Ring upped the bar for not only fantasy films, but movies in general. Adapted from one of the most beloved books of the 20th century and THE seminal fantasy story against which all other fantasy stories are judged, Rings sharply divided its audience by its handling of a particular character. In the book, the elf Arwen appears briefly in the house of Elrond, and has hardly enough time to register with readers before she is gone, only to return at the conclusion of the story, some 1000 pages later. For the movie, they didn’t just reinvent the character, they actually gave her something to do.
In the text that J.R.R. Tolkien put down, at one point the endangered hobbit Frodo is rescued by an elf named Glorfindel, who takes him to safety. Afterwards, Glorfindel disappears and is never seen again. Wanting the audience to grasp her significance in the greater scheme of the story, the filmmakers decided to have Arwen sub in for Glorfindel, providing a hero moment for the elf, even allowing her to draw her sword and challenge a host of demonic wraiths all on her own. (In another adaptation, a cartoon by Ralph Bakshi, it is Legolas who performs this rescue. Somewhere in adaptation purgatory, Glorfindel is shaking an angry fist.)
It should be noted that also featured in the Rings trilogy is the shield-maiden Eowyn, who in the final film really opens a can, killing both the pterodactyl-like Fell Beast and the powerful Witch-King. But this was no post-feminist story-tweaking: it’s right there in the book. Perhaps Tolkien, with all of his creative vision, had an inkling of the world to come.
Women have come a long way towards equality in the fantasy genre, but there are still miles to go. Numerous as the examples of strong females may be, there still persists the image of the damsel in distress, and how many of the characters listed above did their fighting while dressed in ridiculously revealing outfits? Here’s hoping the trends laid down by Buffy and Xena only continue to grow. Let’s let women kick ass and not be forced to do it in an outfit that requires any double-sided tape. We’re all looking at you, Red Sonja remake…