Mona Lisa Smile
The examples of brains, brawn, and bravado I have in this blog
are obviously weighted toward the genres I prefer. 'Prefer' is the key
word here. Every now and then I leap out of my comfort zone and try
something outside what I would consider ordinary.
That was the case, several years ago, with Mona Lisa Smile, starring Julia Roberts, Kirsten Dunst, Julia Stiles, and Maggie Gyllenhaal. When I thought back, I recalled there might have been mind, body, and spirit characters, but I wasn't sure who they were. When I noticed it was available at the library (I rarely pay for movies) I decided to watch it again and post the analysis here.
Julia Roberts plays Katherine Watson, a new professor with a liberal background at a staunchly conservative all-girl's college. In this example, Katherine is a fourth character. If you are unfamiliar with that concept, it was introduced here and has popped up from time to time since.
The mind character is evident within the first two minutes of the movie. Betty is a journalist and introduces the story as though she is in the middle of writing it. She has all the facts of the story and all the remembrances to tell it just as it happened.
In one of Katherine Watson's art classes, she asks the students whether or not the aptly named painting, 'Carcass,' should be considered 'art.' Betty objects to the discussion by saying, 'There are rules.' Art holds nothing emotional for her. It either is or it isn't depending on its compliance with a set of rules she can not define but is certain exists.
Betty's relationship with her fiancée (and later husband) has no passion. She does the seating chart for the wedding, she goes through the ceremony just as she's instructed by her mother, and she does all that society expects of her as a good wife. In all of this, she rarely speaks to her husband and almost never show any physical affection. She is once again following the 'rules' to the letter.
When she realizes her marriage is falling apart, she can not handle the emotion. She turns on Giselle and starts screaming at her everything she's wanted to scream at herself, projecting her emotion onto her friend.
In the end, she breaks the rules, but still has to have order to operate. Rather than run off to New York unprepared, she gets a contact from Katherine so she has a place to stay, and she's already considering job opportunities as a journalist, a mind-centered occupation.
Joan actually tells us that she is the spirit character during the ritual of opening the academic year. In that ceremony, she says the knowledge gained in this school will "awaken our spirits through hard work."
Joan's relationship with her fiancée (and later husband) is a sharp contrast to Betty's relationship with hers. She and her fiance barely make it back in time for curfew and even then try to steal kisses as the gates close. Betty introduces her husband to Katherine as a formality, but Joan eagerly bounces toward Katherine to introduce her fiancée. He responds to the introduction happily and says that Joan can't stop talking about Katherine. Rather than a formal wedding with ceremony and seating charts, Joan elopes. Joan shows passion in her relationships and defies the rules of the school and of society for that relationship.
Joan is also passionate about her studies and is upset when Katherine gives her a "C" on an assignment. Joan mistakenly thought Katherine wanted the 'textbook answer,' rather than her own independent thoughts on the subject. Joan accepts this and (apparently) doesn't make the same mistake on future assignments.
When Katherine discovers Joan is Pre-Law, she helps Joan apply to Yale Law School, where she is ultimately accepted. She is overjoyed to have been accepted, but this is not her dream. She gives it up to follow her real dream of being a good wife to her husband and mother to her kids. Even when Katherine pushes the subject, Joan doesn't give in and asks Katherine to respect her decision and let her follow her own dream.
Giselle has a cigarette and/or an alcoholic drink in her hand everywhere she goes, including at the pool during what appears to be a class or some sort of practice.
She was having an affair with a male professor, but when that died out, she began a new affair with her therapist. The other girls discover a diaphragm in Giselle's purse, even though contraception, or the dispensing of contraception, is illegal in the time depicted in the film.
In the art class with the 'Carcass' painting, Giselle says it is erotic. Betty says Giselle thinks everything is erotic. Giselle replies that everything is erotic.
In etiquette class, Giselle suggests divorce as a tool for solving marital problems (this was set in a time when divorce was extremely shameful and if it ever happened, it was hidden). She also cynically remarks that Betty's husband will end up sleeping with the bosses wife.
I was surprised at how clear the characters were in their mind, body, and spirit roles in this film. There are many more clues in the film that you can watch for to prove it to yourself.
That was the case, several years ago, with Mona Lisa Smile, starring Julia Roberts, Kirsten Dunst, Julia Stiles, and Maggie Gyllenhaal. When I thought back, I recalled there might have been mind, body, and spirit characters, but I wasn't sure who they were. When I noticed it was available at the library (I rarely pay for movies) I decided to watch it again and post the analysis here.
Julia Roberts plays Katherine Watson, a new professor with a liberal background at a staunchly conservative all-girl's college. In this example, Katherine is a fourth character. If you are unfamiliar with that concept, it was introduced here and has popped up from time to time since.
The Mind Character: Betty Warren (Kirsten Dunst)
The mind character is evident within the first two minutes of the movie. Betty is a journalist and introduces the story as though she is in the middle of writing it. She has all the facts of the story and all the remembrances to tell it just as it happened.
In one of Katherine Watson's art classes, she asks the students whether or not the aptly named painting, 'Carcass,' should be considered 'art.' Betty objects to the discussion by saying, 'There are rules.' Art holds nothing emotional for her. It either is or it isn't depending on its compliance with a set of rules she can not define but is certain exists.
Betty's relationship with her fiancée (and later husband) has no passion. She does the seating chart for the wedding, she goes through the ceremony just as she's instructed by her mother, and she does all that society expects of her as a good wife. In all of this, she rarely speaks to her husband and almost never show any physical affection. She is once again following the 'rules' to the letter.
When she realizes her marriage is falling apart, she can not handle the emotion. She turns on Giselle and starts screaming at her everything she's wanted to scream at herself, projecting her emotion onto her friend.
In the end, she breaks the rules, but still has to have order to operate. Rather than run off to New York unprepared, she gets a contact from Katherine so she has a place to stay, and she's already considering job opportunities as a journalist, a mind-centered occupation.
The Spirit Character: Joan (Julia Stiles)
Joan actually tells us that she is the spirit character during the ritual of opening the academic year. In that ceremony, she says the knowledge gained in this school will "awaken our spirits through hard work."
Joan's relationship with her fiancée (and later husband) is a sharp contrast to Betty's relationship with hers. She and her fiance barely make it back in time for curfew and even then try to steal kisses as the gates close. Betty introduces her husband to Katherine as a formality, but Joan eagerly bounces toward Katherine to introduce her fiancée. He responds to the introduction happily and says that Joan can't stop talking about Katherine. Rather than a formal wedding with ceremony and seating charts, Joan elopes. Joan shows passion in her relationships and defies the rules of the school and of society for that relationship.
Joan is also passionate about her studies and is upset when Katherine gives her a "C" on an assignment. Joan mistakenly thought Katherine wanted the 'textbook answer,' rather than her own independent thoughts on the subject. Joan accepts this and (apparently) doesn't make the same mistake on future assignments.
When Katherine discovers Joan is Pre-Law, she helps Joan apply to Yale Law School, where she is ultimately accepted. She is overjoyed to have been accepted, but this is not her dream. She gives it up to follow her real dream of being a good wife to her husband and mother to her kids. Even when Katherine pushes the subject, Joan doesn't give in and asks Katherine to respect her decision and let her follow her own dream.
The Body Character: Giselle (Maggie Gyllenhaal)
Giselle has a cigarette and/or an alcoholic drink in her hand everywhere she goes, including at the pool during what appears to be a class or some sort of practice.
She was having an affair with a male professor, but when that died out, she began a new affair with her therapist. The other girls discover a diaphragm in Giselle's purse, even though contraception, or the dispensing of contraception, is illegal in the time depicted in the film.
In the art class with the 'Carcass' painting, Giselle says it is erotic. Betty says Giselle thinks everything is erotic. Giselle replies that everything is erotic.
In etiquette class, Giselle suggests divorce as a tool for solving marital problems (this was set in a time when divorce was extremely shameful and if it ever happened, it was hidden). She also cynically remarks that Betty's husband will end up sleeping with the bosses wife.
I was surprised at how clear the characters were in their mind, body, and spirit roles in this film. There are many more clues in the film that you can watch for to prove it to yourself.
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