During a tumultuous shift in politics during World War
II—both foreign and social—the United States had to grapple with transforming
identities. Due to the volume of men fighting overseas, the workplace saw a
growing female presence. While men had to confront castration anxieties caused
by the horrors of war, women were given an opportunity to explore independence.
In Cat People, Irena reflects the
struggle of finding an identity. As a foreigner in the United States, she’s
confronted with the prospect of assimilating in a different country. As a
woman, she must also grapple with finding an identity in a patriarchal society;
she could be an independent career woman or she can fill the mold of
conventional gender roles that society imposes on her.
The following scene, which I will dissect, presents a
sympathetic view of Irena’s struggle with identity. To provide context, Irena
was last seen stalking Alice on the street and Oliver is waiting for Irena’s
return. The low camera angle captures Oliver’s tall, distorted shadow looming
over him as he paces back and forth in the apartment. The low, threatening soundtrack
transforms into a melodramatic melody as Irena enters the apartment. Oliver’s
shadow consumes a melancholy Irena as he strides towards her to turn on the
light. Part of a framed painting containing cats is included in the medium shot
as Irena staggers away from Oliver. Irena enters a room devoured by darkness as
Oliver looks on. Irena closes the door, creating a barrier between her and her
husband. A match on action cut allows the viewer to watch Irena march into the
bathroom. Her silhouette is framed by the bathroom doorway until she enters the
bathroom and turns on the light and the bathtub faucet. With darkness invading half
of the room, the bathroom light serves as a spotlight, highlighting Irena
undressing herself. Oliver calls for Irena through the door while she continues
to undress. After Oliver walks away, the camera cuts to a close-up shot of one
of the bathtub’s claw feet as Irena audibly cries. The camera tilts up to
capture Irena hunched over crying in the tub.
Throughout the scene, Oliver is seen as an intimidating
figure that is imposing his presence on Irena. Although Oliver is voicing
concerns for his wife, he is presented from Irena’s perspective. The low angle
shots make him appear large and authoritative. Irena, on the other hand, makes
herself look small and meek by hunching her back. Oliver’s pacing also mirrors
the panther’s movements in the zoo. Because Oliver is an allegory of patriarchal
society, there is a role reversal. In this scene, Oliver appears as if he is
the predator and Irena is his prey.
From tight compositions to makeshift cages created through
the use of shadows, the film flirts with the idea of caging the wild woman. The
aforementioned scene uses doorways to frame Irena. As she moves through
doorways, she is momentarily trapped and framed as if she were a picture
hanging on a wall. Irena also uses doors as a barrier to keep herself from
Oliver. Through this process, she is caging herself. She does so because she
feels that she is a beast that needs to be caged for society’s sake.
Taylor Swift--cat person?!
Irena maintains a cat-like appearance throughout the film.
The tied ribbon in her hair makes it appear as if she has cat ears, and the
long, dark, broad-shoulder coat she frequently wears is used as a surrogate for
fur. Irena’s fingers habitually maintain a claw shape, which can be seen when
she’s reaching for her bird, grabbing Oliver’s shoulders, and consoling
herself. In the bathroom scene, however, Irena sheds her cat appearance in the
guise of a private striptease. The “spotlight” created by the bathroom light
creates a show between Irena and the spectator. The spectator’s gaze is fixated
on Irena, making her a woman. However, the male gaze is interrupted by a shot
of Oliver asking Irena if she is okay. Rather than continue the striptease, the
film reminds the spectator of what Irena is transforming into through the
close-up shot of a claw foot of the bathtub. The film then proceeds to show
Irena in a vulnerable state—hunched over and crying in the tub. Irena’s inner
struggle has become manifest in the bathtub.
We never know who Irena really is as a person—her obsession
with her fears consumes her. The uncanny is brought forth. The presence of
artwork that depicts her fears is a constant reminder of her past and her
roots. They haunt her until they finally trigger a response. Irena’s fears
become contagious. They infect Oliver and Alice, which results not only in
their paranoia, but a transformation in visuals. Oliver and Alice are not only stalked
by Irena, but by the darkness follows them as well. They, too, must grapple
with Irena’s identity.
No comments:
Post a Comment