Sexism and the MPAA

The MPAA is a dated, arguably Medieval organization that needs to be disbanded. While its intention is to keep parents informed of adult content in movies, it actually censors films and unfairly wields the power to determine a film's box office success. If a film receives an NC17 rating, most theaters will refuse to play it, and the film cannot receive enough mainstream attention to even compete for an Oscar. Plus, at the few art house theaters that will play the film, moviegoers under the age of 17 cannot be admitted (even if they are accompanied by an adult), and many adult moviegoers will not see the film due to the taboo associated with an NC17 rating, thus ensuring that the film will flop at the box office. And the worst part? The standards used to determine a film's rating are arbitrary and unfair. 

In particular, the criteria behind the MPAA's ratings is abhorrently sexist. While the MPAA is incredibly lenient when it comes to violence and gore--or even the sexualized torture of women--any depiction of female sexuality is almost guaranteed to get slapped with the kiss of death: an NC17 rating.

Here are just a few of the egregious MPAA ratings controversies of late:

1. In 2010, Blue Valentine was initially slapped with an NC17 rating because it depicted a male character (Ryan Gosling) performing oral sex on a female (Michelle Williams). Despite the fact that there was no nudity during this brief one-minute scene, the MPAA argued that the film's "explicit content... makes viewers uncomfortable," and thus claimed that the film was deserving of its NC17 rating. Fortunately, intimidating studio head Harvey Weinstein appealed the rating, and after a lengthy, highly-publicized battle with the MPAA, the rating was lowered to an R. It's bizarre and unfortunate that the MPAA seems so afraid of females being the sole recipient of pleasure during sex, since countless films depicting females perform oral sex on males receive R ratings without question.

2. In 2013, indie flick The Necessary Death of Charlie Countryman also received an NC17 rating due to a scene in which a male (Shia LaBeouf) performs oral sex on a female (Evan Rachel Wood). Unfortunately, due to the film's low budget, the filmmakers could not appeal the decision, and the director ultimately had to cut the oral sex scene to receive an R rating, although scenes of gruesome, explicit violence got to remain intact. This controversy is especially upsetting because it highlights the way independent filmmakers are the real victims when it comes to the MPAA. As explored in the documentary This Film Is Not Yet Rated, the MPAA is significantly more lenient when rating studio films, and the major film studios can afford to appeal any undesirable ratings, while indie filmmakers without Harvey Weinstein crusading on their behalf are forced to censor their films to please the narrow-minded MPAA.

At least Evan Rachel Wood took to Twitter to tell the MPAA what she really thought:

3. Perhaps most appallingly, masterpiece and recent Palme D'Or (for those who don't know, that's first prize at the Cannes Film Festival and arguably the most prestigious filmmaking award in the world) winner Blue is the Warmest Color was banned in Idaho in part due to the MPAA. It's no surprise that the film received an NC17 rating due to its lengthy scene depicting passionate lesbian sex between its two female leads. (I could probably go on a 20 page rant about the MPAA's homophobia as well, but that's for another blog.) Despite the fact that the film is one of the most moving and honest portraits of growing up and young love, it could not be shown in Iowa's only art house theater, the Flicks Theater, due to its MPAA rating. Apparently, because Flicks serves alcohol, Blue is the Warmest Color was banned since there is a law in Iowa that forbids theaters with an alcohol license to show NC17 or Not Rated films featuring "acts or simulated acts of sexual intercourse, masturbation, sodomy, bestiality, oral copulation, flagellation or any sexual acts which are prohibited by law" and "any person being touched, caressed or fondled on the breast, buttocks, anus or genitals." Due to outdated laws regarding the U.S.'s fear of sex, an entire state of people was deprived of the best art house film of the year, but they can see Transformers blow each other up any night of the week.

Now, let's compare these three NC17 films to recent R-rated films.

I adore Martin Scorsese, and The Wolf of Wall Street was one of my favorites films of last year. However, I think its undeniable that sexism led to Wolf receiving an R rating while Blue is the Warmest Color, a tender, gentler, and realistic portrait of female sexuality, was slapped with an NC17. Wolf features numerous explicit sexual acts, including Jordan Belfort (Leonardo DiCaprio) actually blowing cocaine into a stripper's ass! The film also depicts prostitutes, gang bangs, and full frontal nudity throughout, but the sex in the film always exists as a means to pleasure male characters. To Jordan Belfort and the other male investment bankers in the film, sex is not about pleasuring women but about using, objectifying, and demeaning them. And Wolf gets an R rating.

I also think the U.S.'s unhealthy obsession with and desensitization to violence is concerning. Violent slasher films where victims are tortured and butchered to death like Scream and The Texas Chainsaw Massacre easily skate by with R ratings and films meant to titillate audiences by sexualizing the torture of women like Hostel are rated R as well. In Hostel, all of the thrills are derived from watching naked, gagged women get tied up, raped, and tortured.

I think Ryan Gosling said it best when discussing the Blue Valentine NC17 scandal:

Gosling rants, "How is it possible that these movies that torture women in a sexual context can have an R rating but a husband and wife making love is inappropriate?" I think we should all be asking ourselves that very question.

FEMINIST FILM/TV RECOMMENDATION OF THE WEEK: OBVIOUS CHILD

Obvious Child is a moving and hilarious portrayal of a single woman working as a stand-up comedian in New York whose one-night stand leads to an accidental pregnancy. The film is progressive due to the fact that it never questions her decision to get an abortion and it offers an insightful and funny examination of contemporary dating and hookup culture. It's a refreshing romantic comedy that proves the genre is still alive and can challenge or surprise us.