The Rape-Revenge Girl.
Horror fiction tends to narrowly focus on two main themes: sex and death. (In fact, an argument can be made that most art is preoccupied with these two topics). A corollary subject that often arises from this thematic pairing is the violent cruelty of mankind that ultimately leads to sex and/or death. The writings of the Marquis de Sade and films of both Pasolini and Hanneke are almost entirely devoted to the examination of power dynamics and the innate viciousness of humanity. The reader/audience is also strongly implicated as willing participants in this parade of cruelty served up for our (presumably) voyeuristic consumption.
The Rape-Revenge scenario is the perfect encapsulation of this sex + death equation: a young, beautiful woman is sexually and physically brutalized, but survives to exact bloody vengeance upon her tormentor/s. This scenario is one that is strongly favoured by the various subgenres of exploitation cinema because its, well, basically lurid and exploitative. The most famous (or infamous, depending on your point-of-view) of the Rape-Revenge subgenre is Meir Zarchi’s Day of the Woman (1978), better known by its re-release title, I Spit on Your Grave. Now, let’s place this film in it’s proper context. Zarchi’s I Spit On Your Grave is a base, low-budget, and poorly acted film. It’s pure exploitation cinema, and a far cry from the critically-lauded work of Sade, Pasolini and Hanneke. That being said, it has been the subject of a great deal of feminist critical discourse since its release, with academics such as Carol Clover and Julie Bindel championing its “feminist” viewpoint.
The plot is threadbare. Jennifer Hills, an aspiring writer from “the big city”, seeks solitude in a rental cottage so that she may focus on her craft. The local country bumpkins have different plans for Ms. Hills, however, for no apparent reason other than the fact that she’s young, pretty and unaccompanied. They systematically terrorize, gang rape, and then murder their victim. Or so they believe. Jennifer survives her attack, and returns for revenge. One by one, her former tormentors are dispatched in ever increasingly gruesome ways and we, the audience, cheer her on through this exercise in catharsis.
I had two major misgivings with Zarchi’s I Spit On Your Grave. I’ll list them in point form.
1. One is forced to sit through a protracted series of rapes before we arrive at the satisfaction of revenge. This is the ‘Faustian bargain’ to which we females tacitly agree when viewing such films: howls of naked protest from the heroine in Act One, to be followed by bloody vengeance. The quotient of rape-to-revenge in Zarchi’s film is too much rape, not enough revenge. At least, the deaths of Jennifer’s rapists were not violent and/or gory enough for my — admittedly, gruesome — taste. The only death scene that worked for me was the castration-in-the-bathtub scene. Gallons of fake blood, off-screen howls and much left to the imagination of the viewer make this scene an effective one.
2. The rapists are portrayed as complete imbeciles, with one of them a mildly retarded, Gomer Pyle-like character. Did Zarchi intend this as a further insult-to-injury for poor Jennifer Hills? That an independent, educated woman like her could be bested by this group of inbreds? The convincing performance of Camille Keaton in the infamous ‘sodomy scene’ is completely undercut by the spastic gyrations of her attacker. What the hell is the actor doing back there? Was he directed to look that ridiculous? Even during a scene as horrendous as this, I could not suppress my laughter.
Where is the ‘deviance’ and the ‘aberrant female’ in all this, you ask? Carol Clover wrote in the third chapter of her 1992 book Men, Women, and Chainsaws that she can “appreciate, however grudgingly, the way in which [the movie’s] brutal simplicity exposes a mainspring of popular culture.” Women are typically cast as victims in exploitation films, and their suffering has become a form of sadistic entertainment. Zarchi’s film attempts to address this issue. Rather than rely on the sporadic justice of the judiciary system, Jennifer Hills takes matters into her own hands. She embodies the rage we feel against the cruel reality of rape, and we sit through her violation in order to experience the vicarious thrill of revenge without ever getting our hands bloodied.
While Zarchi’s I Spit On Your Grave doesn’t entirely work for me as a satisfying Rape-Revenge film, my next post will focus on a film in this genre that does work: the equally controversial French film Baise-moi (2000).