![]() She had begun to write, too, and she worked in television, most prominently on Miami Vice. 45, she made Special Effects for Larry Cohen, another low-budget auteur who alternately specialized in blaxploitation and monster movies. Ferrara once noted that she was paid about $3.50/hour to appear in Ms. She was the kind of underground bohemian who was loaded with talent and creativity but who was chronically without means. Lund was part of that fabric, too: she hung out with artists and revolutionaries, including her romantic partners. This was the era of garbage strikes in New York and rampant street crime and the underground avant garde and punk rock, all of which inform the film. Like that film, it has a vision of urban disintegration and alienation that Ferrara was able to capture mainly by just pointing his camera at it. ![]() 45, which was made on the cheap by Ferrara as his follow up to his debut film, Driller Killer. She didn’t get the gig, but she had been spotted. The headshot she took to the audition was taken in a photo booth. She auditioned for the 1980 film, Times Square, on a lark. 45, she was attending Columbia University on a music scholarship. ![]() She was a prodigy, excelling at music from a young age, and beautiful in the way of fashion models, with huge eyes, bee-stung lips, and an almost gaunt figure. (released in Australia as Revenge Artist) brings its audience into the experience of its protagonist Noelle (Francesca Eastwood), who learns that violent revenge may be cathartic, but does not heal her trauma.Zoë Tamerlis (later Lund) was born to a Swedish American mother and a Romanian father in 1962. But new iterations in rape-revenge centre the protagonist’s path to healing from trauma. ![]() Kim is safe, and his authority as her father no longer in question.Įven rape-revenge films starring women rarely focused on her internal journey, instead showcasing her acts of incredible violence. It is Bryan’s story and he got exactly what he wanted. She is just as cheerful as she was in the opening scenes. Taken ends with Kim back in America with Bryan, apparently not changed at all by her ordeal. When Bryan has what he needs, he turns the electricity on and walks out, leaving Marko to be gradually electrocuted to death.Įventually, Bryan fulfils his fatherly responsibility by murdering everyone and rescuing Kim. In one particularly upsetting scene, he electrocutes information out of a mid-level gang member, Marko (Arben Bajraktaraj). IMDBīryan travels to Paris and tortures every Albanian he can get his hands on. In Taken, Liam Neeson picks up the gun – just like men before him. He reluctantly agrees, but his hesitance is vindicated when Kim and Amanda are kidnapped by an Albanian sex trafficking ring. Liam Neeson plays former Green Beret Bryan Mills, who begins the film attempting to rebuild his relationship with 17-year-old daughter Kim (Maggie Grace).īryan is horrified when Kim wants to visit Paris accompanied only by her irresponsible friend Amanda (Katie Cassidy). I have watched an unhealthy number of these movies, but perhaps the most illustrative in this tradition is Taken. This movie has four sequels of roughly the same plot and varying quality (1985’s Death Wish 3, in which Kersey defends an apartment building full of senior citizens, is a lot of fun) and the 2018 remake starring Bruce Willis. IMDBįirst with a sock full of pennies, and then with a gun, former pacifist Paul becomes a powerful deterrent to would-be criminals, reducing crime in his city by a staggering amount. In Death Wish, a daughter’s rape must be avenged over and over again. The film that likely brought prominence to the genre was Ingmar Bergman’s 1961 Academy Award winning The Virgin Spring. These early films rose in prominence in 70s and relied heavily on the shock value of brutal rape scenes, followed by the even larger shock of the victim’s sadistic revenge.īut entries in the genre didn’t always focus on the reaction of the victim.įrequently, filmmakers found more mainstream success if the avenger was the victim’s father. The rape-revenge film genre has a fairly sleazy reputation, summoning images of a battered and traumatised woman taking violent revenge on her attacker(s), as in I Spit On Your Grave (1978). ![]() Weinstein conviction a partial victory for #MeToo, but must not overshadow work still to be done This is a refreshing change of pace in a genre packed with films depicting rape as an attack on the father’s honour. With the success of 2020’s Promising Young Woman, it is likely there will be more revisionist films like these reaching wide audiences and critical acclaim. ![]()
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