The Sunday New York Times Arts section is typically full of generous articles about movies designed for those of us who love film — but not so Dennis Lim’s article this week about Sofia Coppola.  Let’s see if we can sense … oh, let’s call it the slight whiff of patronizingly sexist disdain here in his first paragraph:

AT 39 and with four features to her name, Sofia Coppola finds herself caught in something of a double bind — the predicament of the auteur whose constancy risks being seen as predictability, or worse.  Her admirers detect in her work a good eye, impeccable taste, an exactitude with indistinct moods and feelings.  Her detractors claim that her frame of reference is narrow, that she makes the same film over and over again.

Lim continues in the next paragraph:

By her own admission Ms. Coppola’s first three movies — “The Virgin Suicides” (2000), “Lost in Translation” (2003) and “Marie Antoinette” (2006) — constitute a trilogy about young women on the awkward verge of self-definition.  As her critics see it, the problem is not just repetition but a kind of solipsism.

As much as I love his side-stepping use of these unnamed “critics” and “detractors,” let’s set aside the patronizing air for the moment to ask whether he has seen anything other than Marie Antoinette.  (And I hasten to add that I really liked that film, though I know some didn’t.)  How, Mr. Lim, can anyone characterize her first two films as about “young women on the verge” when The Virgin Suicides is at least as much about boys who look at and admire a group of unknowable sisters, and Lost in Translation is about a relationship between a shlubby, aging actor and a woman less than half his age?  Deep into the article Lim recounts Kirsten Dunst’s exasperated response to this charge at Cannes several years ago:  “Observing that ‘mopey-man movies’ often get a free pass, Ms. Dunst suggested that there is less tolerance for feminine introspection.”  That’s the very least one can say about movie-makers’ tolerance for male solipsism.

Most of all, Lim casts a skeptical eye on the fact that Coppola is the “supremely well-connected daughter of Francis Ford Coppola” and that this has dictated her interest in filming what he calls “the luxe life.”  (Again, have you seen the decidedly middle-class The Virgin Suicides?)  No one doubts that her family ties have helped her, but they didn’t bring her the multiple awards she’s received, including a Golden Globe (for Lost in Translation) and the Golden Lion (for her current film Somewhere).  And I ask you, Mr. Lim, have you ever described Jeff Bridges, Michael Douglas, Charlie Sheen, Kiefer Sutherland, Jaden Smith, director Jason Reitman, or even Coppola’s cousins Jason and Robert Schwartzman as the “supremely well-connected son of …”? 

Turning to Lim’s sexist and patronizing dismissals, let’s tick through some of his charges:

  • Her work is predictable
  • Her work is somehow about herself
  • Her work is solipsistic
  • She got where she is due to nepotism
  • Her films only portray the cloistered elite, because that’s all she knows
  • She is well known to love fashion, “which seems to have contributed to a perception that there is something frivolous about her films” (we here at Feminéma LOVE the use of the passive voice!)
  • She has responded to past criticism by turning her film Somewhere into a minimalistic film about a male perspective
  • Her films are “delicate”
  • Coppola displays a “lack of awareness” about her films as a group, a lack of awareness Lim calls either “blissful or protective” (hang on, she’s both solipsistic and blissfully unaware?)

Great job, Dennis Lim!  Let’s hope that your own supremely well-connected work with The New York Times, The Los Angeles Times, Moving Image Source, the Museum of the Moving Image, The Village Voice, The Village Voice Film Guide, the National Society of Film Critics, the Brooklyn Academy of Music, the 2010 Robert Flaherty Film Seminar, and many film festivals including New York, San Sebastian, Vancouver, Tribeca, and South by Southwest Film Festivals — to name only a few I found online — permits you to continue to offer such useful assessments of one of the very few top-shelf female directors in the world.  The New York Times does it again!

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