1. Feminist Film Theory: Are Legally Blonde (2001) and
Picture Perfect (1997) accurate examples of
femininity?
Name: Frankie Payne
Student Number: 13022595
Module Title: Performance Research
Module Code: PA0330
Module Tutor: Matt Hargrave
Seminar Tutor: Dan Koczy
Due Date & Time: Friday 22nd April 2016, 4pm

2. Feminist Film Theory: Are Legally Blonde (2001) and Picture Perfect (1997) accurate
examples of femininity?
Marjorie Rosen in her book Popcorn Venus; women, movies & the American dream (1973)
suggests that “film versions of femininity speak of male cultural dominance” (Rosen, 1973, 6)
Unrealistic representations of women created by male directors and producers is a subject
which has been a concern ever since feminist film theory was formed and is still very much a
forefront issue of twenty-first century cinema. In this essay I will explore feminist film theory,
using Legally Blonde (2001) and Picture Perfect (1997) as stimulus. I will analyse how the
women in these films are represented and also explore if they a true representation of
women and femininity. Before I start my analysis of Legally Blonde (2001) and Picture
Perfect (1997) it is important that I define what Feminist Film Theory involves and some
relevant literature, Janet McCabe defines Feminist Film Theory as ‘a very particular type of
theory, conceived from disciplines beyond its borders such as (post) structuralism,
psychoanalysis, post-colonialism and queer theory as well as generates from inside film
studies” (McCabe, 2004,1) I will use this quote as a definition when I refer to Feminist Film
Theory throughout the essay.
Legally Blonde (2001) is a American comedy film directed by Robert Luketic, it follows Elle
Woods played by Reese Witherspoon a sorority girl on her journey through Harvard Law
school. She initially applies to Law school to win back her ex-boyfriend Warner Hunington III,
but soon discovers her passion and talent for law. She is faced with many challenges and
preconceptions about her intelligence and appearance, however is accepted one to an
internship where she thrives and wins the case, finally realising how shallow and conceited
her ex boyfriend is refuses his offer of reconciliation, however in a three year time jump Elle
is graduating and is engaged to someone else.
Picture Perfect (1997) directed by Glenn Gordon Caron follows Kate played by Jennifer
Aniston an advertising agent from New York who is struggling to get promoted at work due

3. to her lack of relationship, after her friend tells the bosses she’s actually engaged she has to
fake a relationship with a man she met at a wedding days earlier, after many obstacles and a
choice between her career and love she finally realises they’re not exclusive and opts for
both.
I will be analysing Legally Blonde(2001) and Picture Perfect(1997) in reference to
psychoanalytic film theory which Laura Mulvey in her essay Visual Pleasure and Narrative
Cinema (1989) explains is looking at film and analysing how “the film reflects, reveals and
even plays on the straight, socially established interpretation of sexual difference which
controls images, erotic ways of looking and spectacle” (Mulvey, 1988, 54) In order to analyse
Legally Blonde(2001) and Picture Perfect(1997) I must look into the genre of romantic-
comedy and discover the typical narrative structure of these films. In Leger Grindon’s book
Hollywood’s Romantic Comedy it’s quoted that “An American Film Institute 2008 poll defined
romantic comedy as ““a genre in which the development of romance leads to comic
situations” (Grindon, 2011, 1) therefore I would define both Legally Blonde (2001) and
Picture Perfect (1997) as romantic-comedies as they have elements of humour and both end
in a romantic resolution. Grindon quotes “a distinguishing quality of the romantic comedy is
the dual protagonist, the man and the woman who’s union becomes the principle quest”
(Grindon, 2011, 4) therefore it could be argued that Legally Blonde (2001) is not a romantic
comedy as Elle woods is the only protagonist, however I would argue that it should be
considered a romantic comedy as the protagonists principle quest is her relationship with her
ex-boyfriend.
Femininity is not a biological occurrence; it is a set of ideals that include attributes and
qualities that society associate with being female. These ideals differ around the world so the
definition of what femininity includes changes dependent of the culture, as the films I am
analysing are filmed and set in America I will be using western ideologies of femininity when
discussing them in my essay, these ideologies can include: beauty products, clothes and
behaviour. For example a woman who is caring and sympathetic could be described as

4. being ‘feminine’ also a woman who wears make up and high healed should could be stated
as ‘embracing femininity’.
“These stereotypical images afford female audiences little chance for authentic recognition”
(Rosen, 1973, 23) Elle Woods is an exaggerated version of a feminine character and it could
be argued that this makes her less likely to be relatable to a female audience. Women in film
are often fit into one of two categories; Domesticity e.g. wives and mothers or Sex symbols
e.g. dumb blonde and gold digger. In the opening sequence of Legally Blonde (2001) the
camera focuses in on a huge stack of cosmopolitan magazines, a framed picture of her dog
and a vast selection of beauty and nail products. These items are very stereotypical and
suggestive of a patriarchal view on feminism. One of the first images in the opening title
sequence of Legally Blonde is a shot of a brush running through perfectly curled blonde hair;
this one image sets the mise-en-scene for the entire film, which is the assumption that Elle’s
hair colour and appearance is linked to her intelligence. In an interview Reese Witherspoon
explains how Elle is underestimated due to her appearance “she starts out as a character
you would kind of discount , you wouldn’t think oh she’s so academic and intellectual
because she looks kind of silly , in silly clothes and very blonde but ultimately proves
everyone wrong “ (ScreenSlam, 2015) This film succeeds in showing that blondes are not
stupid and fighting these stereotypes Witherspoon explains “this film dispels the myth that
blondes are stupid, it really gets to the root of that America idea that blondes are not
intelligent and goes to prove that you can’t judge them on the way they look” (ScreenSlam,
2015) This is evident in a scene where Elle is shopping in a boutique with her friends
searching for the perfect outfit to wear for a date with her boyfriend; they are gossiping and
discussing her possible engagement. A shop assistant observes the scene, picks up a dress
from the sale rail, pulls of the discount sticker and attempts to sell Elle the dress for full price,
she tells her fellow sales assistant “there’s nothing I love more than a dumb blonde with
daddy’s plastic” (Legally Blonde, 2001) Elle plays along for a while until confronting the
woman’s lies:

5. “Elle: Is that low-viscosity rayon? With a half-loop top stitching on the hem?
Boutique Saleswoman: Of course. It's one of a kind.
Elle: It's impossible to use a half-loop stitching on low-viscosity rayon. It would snag
the fabric. And you didn't just get it in - I saw it in the June Vogue a year ago. So if
you're trying to sell it to me for full price, you've picked the wrong girl.” (Legally
Blonde, 2001)
The dumb blonde stereotype is not a recent development; it has been a common feature in
romantic comedies since the early nineteen fifties. The arrival of Marilyn Monroe “the dumb
blonde Monroe so frequently played abandoned the threatening intelligence or career
aspirations” (Grindon,2011, 47) brought with it a theory also known as the Seduction Cycle,
society become less reserved and the films of this era challenged the double standards than
men could be sexually active but women should remain virgins until marriage. Within her
films Monroe’s character were labelled gold diggers and provocateurs, often searching for
rich husbands instead of true love, “ Monroe’s characters generally lacked a significant job,
defining history or other distinguishing personal traits” (Grindon, 2011, 48) her sexuality was
her appeal not her intelligence or character traits. In Legally Blonde (2001) Warner, Elle’s
boyfriend even says “if I’m going to be a senator I need to marry a Jackie not a Marilyn”
(Legally Blonde, 2001) prompting Elle to shout “you’re breaking up with me because I’m too
blonde?!” (Legally Blonde, 2001) this suggests that Warner believes she is not intelligent
and nobody will respect him because of how Elle looks.
This links to Laura Mulvey’s theory that women in film are used for an “erotic object for the
characters within the screen story or as an object for the spectator within the auditorium”
(Mulvey, 1989, 76) Monroe was a huge icon so her sexuality will have been exploited for the
spectator within the auditorium but also within the action, many of her films include scenes in
some stage of undress which have a voyeuristic element as the possible love interest is
watching or interrupts. Elle’s sexuality is also used to attract the audience on the DVD back
cover of Legally Blonde (2001) the film is summarised “She’s a California sorority girl who’ll
do anything to keep her man. Even if it means going all the way...to law school!” this

6. suggestion of sex “going all the way” uses the stereotype of dumb blonde to attract the
audience.
However the femininity of the female in romantic comedies was re evaluated in nineteen
fifty-nine with the arrival of Doris Day, in contrast to Monroe’s over sexualised characters
Day played a moralist who Grindon describes as “a spunky respectable working professional
who wants to fall in love and raise a family with a devoted husband” ( Grindon, 2011, 84)
Unlike Monroe’s films with the resolution consisting of finding a man and getting married in
Days films she often did not give in to the charms of her pursuer, this can be seen in Move
Over Darling (1963) where Day is stranded on a desert island with a man for five years and
despite his advances does not succumb as she is married. I think Day’s moralist characters
are a more accurate and relatable representation of women than those of Monroe’s. This is
due to Monroe’s characters being closer to male fantasy and a patriarchal view on what
women should behave like. I think the character of Elle woods is a perfect combination of
Monroe and Day, her blonde hair, concern over her appearance and eagerness to find a
man echo that of Monroe’s most famous roles however her passion, determination and
female empowerment are characteristics of Doris Day.
As well as stereotyping another aspect of feminist film theory that I want to focus on is
gender inequality, this theme is widely explored in both Legally Blonde (2001) and Picture
Perfect (1997). Elle Woods faces many inequalities throughout the film; however one scene
I want to focus on is between herself and Professor Callahan, Elle has just helped
uncovered some crucial evidence that will help them win the case and her professor has
asked to speak to her privately in his office where the following conversation takes place :
“You know what competition is really about don’t you? Ferocity, carnage, balancing
human intelligence with animal diligence, knowing exactly what you want and how far
you’ll go to get it, how far will Elle go?” (He places his hand on her knee and runs it
up her thigh, Elle removes his hand disgusted and stands)
“Elle: Are you hitting on me?
Callahan: You’re a beautiful girl

7. Elle: So everything you just said...
Callahan: I’m a man who knows what he wants
Elle: And I’m a law student who realised her professor is a pathetic asshole
Callahan: Too bad, I thought you were a law student who wanted to be a lawyer”
(Legally Blonde, 2001)
The assumption in this scene that because of Elle’s appearance she will sleep with a
professor in order to further her career links to Laura Mulvey’s theory on patriarchal power in
Hollywood films “man controls the phantasy and emerges are representative of power”
(Mulvey, 1989,63) this is evident in this scene as Callahan’s final line “Too bad, I thought you
were a law student who wanted to be a lawyer” (Legally Blonde, 2001) suggests that he has
the power over her career and now she has refused his advances he will not help her
further. This was further explored in a deleted scene between Professor Callahan and an
older student Emmett
“Callahan: Keep that bitch away from me”
“Emmett: She’s a bitch because she said no to you?”
Callahan gave her the job based on her looks not her talent “Callahan never saw me as a
lawyer just as a piece as ass” (Legally Blonde, 2001) suggesting that he wanted her to work
from him because he believed he had a chance of a sexual relationship with Elle. He
propositioned her as she has undermined him in the courtroom, he has dismissed her ideas
and suggestions and when they proved to be correct he felt belittled ““No one is more
arrogant toward women, more aggressive or scornful, than the man who is anxious about his
virility.” (De Beauvoir, 1953, 30 ) However within this film the other representatives of power
are all females, the morally correct Professor Stomwell who encourages Elle to go back to
law school after her altercation with Professor Callahan. Stomwell played by Holland Taylor
is a great example of a strong female character female audiences members can relate to,
her first impression of Elle is not great as she is unprepared for the class however she is the

8. moral compass who convinces Elle that the sexist behaviour and objectification she has
experienced is not okay, and to fight it “If you're going to let one stupid prick ruin your life...
you're not the girl I thought you were” (Legally Blonde, 2001) The judge in the courtroom is
also female, showing a woman in a position of power who is not a push over, does not show
favouritism and does her job just as well as a male judge, echo’s the narrative of the entire
film which is Elle fighting to show she can do just as good a job of being a lawyer as any
man could. This character’s story arc never involves a man and proves that female character
does not need male characters in a scene to have an interesting storyline and that a
matriarchal system is just as believable in a story as a patriarchal one.
In Picture Perfect (1997) gender inequality is the main obstacle the protagonist has to face,
one scene in particular sums up how women in the workplace are represented in Hollywood
films. Kate has single-handedly created an advertising campaign that has brought in a large
company for her firm, however when a promotion is available she is not considered and asks
for a meeting with the boss Mr. Mercer to explain why. He explains he likes her but she’s not
reliable, whereas everyone else on the team is because “Darcy owns a home that in my
opinion she can’t afford and that pleases me no end because I know she’s showing up for
work tomorrow, and this guy I co-signed the loan on his Mercedes, happy to do it, he’s not
going anywhere” (Picture Perfect, 1997) Mr Mercer sees Kate as unreliable as she is a
single female woman, and this is seen as a negative attribute in the workplace. However
then single men in his firm are not treated in the same manner, if anything they are
celebrated, they have no wife to support or mortgage payments so are considered a good
investment, “You’ll go far kid, you’ve nothing keeping you down”. (Picture Perfect, 1997)
Another theme I want to explore in reference to feminism film theory is objectification, seeing
or treating a woman as property or an object De Beauvoir says “To make oneself an object,
to make oneself passive, is a very different thing from being a passive object” which
suggests that having the choice and deciding to be passive is very different from being
forced to be passive by a man or by society. In Legally Blonde (2001) Elle is invited to a

9. costume party but as she arrives and realises she had been lied to in order to humiliate her.
This is one scene in the film that I would argue is not a good example of a positive
representation of women, Elle dresses up as a bunny in pink tights, corset, heels and bunny
ears. She is encouraging the stereotypes enforced upon her it could be argued that this
scene is contradictory as it conflicts with the characters morals and goals, Elle wants to be
taken seriously and not considered a dumb blonde “all people see when they look at me is
blonde hair and big boobs no-one will take me seriously” (Legally Blonde, 2001) yet she
chose to go to a costume party dressed in something that would reinforces these
assumptions about her, she could have picked any costume therefore I think this scene is a
unrealistic representation. However in regard to the De Beauvoir quote above Elle could be
choosing to dress like this as a statement, this is how everyone sees her so at least this time
it is on her own terms. This scene also links to Laura Mulvey’s suggestion that women are
used in film as a sexual object “women are an object of combined gaze, of spectator and the
male protagonist” (Mulvey, 1989,63) as it does not correspond with the characters morals
this asks the question what was the purpose of this scene? I believe the director wanted a
costume that appealed to a male audience as the rest of the film is predominantly aimed at a
female audience, when the director was asked in an interview if he made the film for just
women or both sexes he replied “I want to make everyone laugh” (SBS ON DEMAND, 2001)
The other reason could be that Elle wanted to attract the attention of her ex-boyfriend so had
to use her sexuality in order to do this as he refused to acknowledge her in any other
capacity.
Laura Mulvey also discusses the male gaze, which is the theory that the audience look at a
woman from the perspective of a heterosexual male, using certain camera angles and
effects such as slow motion this objectifies the female “the determining male gaze projects
its fantasy onto the female figure, which is styled accordingly” (Mulvey, 1989, 19) this is
evident in Elle’s application video, she is in the swimming pool, in her swimsuit talking about
her qualities, the camera pans slowly up her body focusing longer than necessary on her

10. breasts, next is a wide angled shots of six middle aged men in suits watching her application
video, this shows the objectification of Elle but also reflects the male hegemony of the
university and the entire professional she is embarking upon.
The directors of both Legally Blonde (2001) and Picture Perfect (1997) are both males,
Robert Luketic and Glenn Gordon Caron and I want to explore their influences on the
representation of the women in their respective films. Robert Luketic has also directed other
romantic comedies such as Monster-In-Law and The Ugly Truth, which follow the typical
genre structure woman meets man and must overcome certain obstacles and resulting in
relationship between the two. Brian Henderson says “There can be no romantic comedies
without strong heroines” (Henderson, 1986, 320) however I wonder if the problem with
romantic comedies not representing femininity realistically is the lack of strong female
directors, Grindon says “the genre features strong female characters and some noteworthy
women screen writers but there have been few prominent women directors though the
number is growing”. One of these directors is Nancy Meyers, one of her most recent films
The Intern (2015) tells the story of Jules (Anna Hathaway) and Ben (Robert de Niro) who
becomes unlikely friends after Ben becomes an intern senior citizen at Jules’s company, this
film is unlike other Hollywood romantic comedies as it shows the woman in the position of
power instead of the man. Also Jules is having marriage issues and after many obstacles the
typical Hollywood ending would be for the couple to sort out their issues and live happily
ever after, however this does not happen, they stay together but acknowledge its not perfect
and they will give it another go but you get the feeling neither one holds out much hope for
the success of their marriage. What Nancy Meyers does here I would argue is portray a
more realistic image of women and femininity, acknowledgement that their lives are not
always perfect and mistakes are made but that does not make them any less of a woman.
The endings of Legally Blonde (2001) and Picture Perfect (197) are where my biggest issues
with these films arise, let me start with Picture Perfect, after realising she has developed
feelings for the man she has been paying to be her boyfriend in order to climb the career

11. ladder Kate throws it all in to run after the man she loves. In order to comply with the
traditional romantic values found within a Hollywood romantic comedy Kate seeming
changes her desires, ambitions and moral compass in the name of love. At the beginning of
the film Kate believed in her own talent and had such ambition to be the best she could be,
but willingly gives it all up, I don’t think this is a positive representation of femininity, she is
being manipulated to believe she must choose between a career and family, this old fashion
value system reflected in this film is not something women can relate to and should not have
to “These stereotypical images afford female audiences little chance for authentic
recognition” (Rosen, 1973,7)
Legally Blonde (2001) appears to end where Elle wins her case her ex boyfriend Warner
approaches her trying to reunite:
“Warner: I just wanted to say you were so brilliant in there and that I was wrong you
are the girl for me
Elle: Really?
Warner: Pooh bear I love you
Elle: Oh Warner I’ve waited so long to hear you say that. But if I’m going to be a
partner in a law firm by the time in thirty I need a boyfriend who’s not such a
complete bonehead” (Legally Blonde, 2001)
She walks away from him with her head held high refusing to compromise for someone who
did not deserve her love. This is a great example of a strong female character for the
audience to relate to if the film had ended there, however there is a three year time jump to
see Elle graduating from Harvard Law and we discovered from on screen text that she has
been dating Emmett for the last two years and he is proposing to her tonight. Personally I
would argue that this undermines the empowerment of women that the film worked hard to
achieve throughout, this suggestion that Elle needs to have a relationship in order to validate
herself Simone de B describes this as “He is the Subject, he is the Absolute, she is the
Other.” (De Beauvoir, 1953, 57), the relationship was not suggested throughout the entirety

12. of the film and was thrown at the audience in the last few seconds I believe this cheapens
the storyline and tries to fit into Hollywood film conventions by achieving a romantic
resolution. In an interview about Legally Blonde (2001) Reese Witherspoon says “we women
struggle with wanting to have successful relationships but also wanting to have successful
careers” (ScreenSlam, 2015) yet in the film, the resolution reflects no struggle at all, a great
boyfriend and good career prospects and no problems, clearly this is not reflective of the
struggle Witherspoon explains real women go through.
My argument is that a great romantic comedy film does not need a romantic resolution as
they are not relatable “romantic comedies are often dismissed as formulaic stories promoting
love” (Grindon, 2011, 1) and friendship can offer an alternative ending to perusing love, for
example one of the greatest romantic comedies My Best Friend’s Wedding (1997) ends with
Julia Roberts not getting the guy and the final scene she is seen dancing with her gay best
friend, laughing and having fun.
Therefore I would summarise that neither Legally Blonde (2001) or Picture Perfect (1997)
are not good examples of femininity, they are an ideology constructed by male directors
assumptions and expectations forced on women in film. Grindon says that “romantic
comedies portray the changing status of women in modern time” (Grindon, 2011, 4)
therefore I would argue that these films do not offer a realistic representation of femininity as
they both suggest a romantic resolution is needed in order for the character to be content,
which is not a statement modern women will relate to as they can be successful and happy
without male approval and validation.
Word count: 4135

13. Bibliography
Beauvoir, S. (1953). The second sex. New York: Knopf.
Grindon, L. (2011). The Hollywood romantic comedy. Malden, MA: Wiley-Blackwell.
Legally Blonde. (2001). [film] Hollywood: Robert Luketic.
McCabe, J. (2004). Feminist film studies. London: Wallflower.
Move Over Darling. (1963). [film] Hollywood: Michael Gordon.
Mulvey, L. (1989). Visual and other pleasures. Bloomington: Indiana University Press.
My Best Friend's Wedding. (1997). [film] Hollywood: P. J Hogan.
Picture Perfect. (1997). [film] Hollywood: Glenn Gordon Caron.
Rosen, M. (1973). Popcorn Venus; women, movies & the American dream. New York:
Coward, McCann & Geoghegan.
SBS ON DEMAND, (2001). Legally Blonde : Robert Luketic. [video] Available at:
http://www.sbs.com.au/ondemand/video/11696195961/legally-blonde-robert-luketic#!
[Accessed 9 Apr. 2016].
ScreenSlam, (2015). Legally Blonde: Reese Witherspoon Exclusive Interview. [video]
Available at: https://www.youtube.com/watch?v=8JtNt0PtAfE [Accessed 9 Apr. 2016].

14. The Intern. (2016). [film] Hollywood: Nancy Meyers.