We Are the Weirdos, Mister.

theda bara

We are the weirdos, mister.”

 After Nancy (Fairuza Balk) uttered the infamous line in The Craft (1996), the audience at last night’s Revue Cinema screening burst into fervent applause.  Many in attendance were in their thirties and forties and probably, like me, nostalgia-tripping former teenage outcasts.

As a lonely, imaginative girl, I loved was obsessed with The Craft and its story of four teenage witches, played by Balk, Neve Campbell, Rachel True and Robin Tunney, who use their powers to wreak havoc on the dumb jocks and the mean girls at their Catholic high school.  In 1996, there were very few spaces where teenage girls could feel powerful.  We were told (by society, television and YM magazine) that the only way to obtain any sort of power was through our physical appearance and our relationships with boys: two things that were beyond our control since you can’t really dictate how someone else sees or reacts to you. And any “power” based on physical beauty is precarious when we live in a society that equates being beautiful with being young. If beauty is power and youth is beauty, than that power is ephemeral.  I knew that when I was 16 and I know that now. One of the very few media outlets in the 1990s where teenage girls did have a voice was the fiercely fun and feminist Sassy Magazine, which sadly folded in 1996. The Craft filled a void. The vicarious power-fantasy fulfillment was enough to (almost) forgive and forget its disappointingly anti-feminist ending.

The witches in The Craft are direct descendants of Theda Bara (pictured), the silver screen’s first “bad girl” and the woman who made the word “vamp” both a noun and a verb. In A Fool There Was (1915), the film that catapulted her to fame, Bara chews up scenery (and men) as a liquor pushing, sexually aggressive vampire. This vamp doesn’t drink blood though: rather Bara slowly drains the will to live from her male victims by eating away at their dignity. “Kiss me, my fool!” she famously purrs but beware: her kiss renders “respectable” men destitute and depraved. Buried alive under the rubble of their broken lives, still her victims beg her for more. Bara’s appetite for destruction is never satiated and, unlike Nancy in The Craft, she never loses her power.

– Heather Babcock

 

 

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