from Barbra
to
Barbara
Could she make it out alive?
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Could she make it out alive? ✦
The Man Behind the Monsters
In July of 2017, TIFF published an interview detailing the life and great works of the incomparable George Romero. This interview covers the production process of many of his greatest films, and dives into his interpersonal relationships with actors and their characters.
When George Romero wrote Barbra, his intentions were not to have her be an icon of femininity, or to represent women as a whole. Barbra is simply Barbra. Though he has publicly admitted regret for writing her as deeply unhelpful as he had. He states, “I produced a remake of Night (Night of the Living Dead) ... I wrote that script, and I started apologizing to women right then.” (TIFF, 47:43) With the creation of Barbara his intentions were to show feminine strength, yet audiences still had issues with this portrayal. Where does the problem with the character truly lie?
Additionally, the interview explores his content contrasted with his regrets for character choices, and re-writes. In all, an excellent way to memorialize such a notable filmmaker.
George Romero 1940-2017
Barbra: Incompetent or instinctive?
When discussing the terms fight or flight, the other reactions are often completely overlooked. In conjunction with fight or flight are freeze and fawn. According to author Samantha Bickham, “This autonomic reaction compels individuals to engage their defenses to prevent or avoid as much damage to the body and mind as possible.” (Bickham) In discussion surrounding Barbra, it is commonplace to invalidate any reaction other than fight. But the viewer sees repeatedly that Barbra’s responses are intact. She enacts Flight within the first 10 minutes of the movie and secures a safe place for herself even before being joined by another person. Unfortunately, the false safety of having company persuades her reaction to become freeze, becoming nearly unresponsive and immobile. Which it is important to keep in mind that these are not controlled reactions Even within this, she ends up helping a bit, getting up to collect wood to block the doors, and helping to keep the Zombie hoard out by blocking entrances with her body in the ending.
Her fear is so palpable throughout the entire film, and in a way that makes her few actions more impactful. Her responses, though frustrating to the audience, are valid and realistic. Many people claim they would be able to do it differently, but few have a natural heroic response. In comparison she reacts more deeply to the distressing situation, but her differing actions from the other characters do not make her weaker by any means. According to the Substance Abuse and Mental health services administration, “A particular event may be experienced as traumatic for one individual and not for another. How the individual labels, assigns meaning to, and is disrupted physically and psychologically by and event will contribute to whether or not it is experienced as traumatic.” (SAMHSA 8) All this to say, we are not responsible for our every action, and our responses are different from person to person. Validating an array of unexpected responses.
HOw Barbra is Broadcast
Barbra
NEW!
Barbara
Every woman in the film is a caricature of patriarchal perfection. Helen, the family centric wife, Judy, the doting ditsy girlfriend, and Barbra. Barbra is a different beast entirely. She is the only female character that has lost her designated male authority and appears the be hollow at this loss.
Her actions through the film have been heavily criticized over the years, branding her character as the antithesis of feminist culture. The arguments behind this are sound but leave open some questions regarding the realism of her actions. Barbra’s directionless actions do not make her a good figure for feminist rhetoric. But they do make her a good example of trauma responses hindering actions. No, Barbra is not a well thought out anti-patriarchal character. Yet, the way she fails to act speaks towards the realism and normalcy of her character.
Facing backlash on the original character of Barbra, George Romero had a different spin on the character the second go round. Rather than having a frozen in time traumatized woman, he chose to rise Barbra into an androgenous vigilantism. This new Barbara (spelled differently than the original) is dressed stuffily but has a coming to God moment where she abandons her wool turtleneck and lengthy skirt, for slacks and a tank top. Her hair is cropped hastily, and her personality dons a wildness the original lacked. These two portrayals are completely different from one another. If they did not share the same name and family, one would hardly be able to connect the two.
As written by Meg Sipos, “To overcome the terror around her, Barbara has to be more "manly." She has to be less traditionally “feminine” and more traditionally “masculine.”” (Sipos) This change in the way she presents herself does not allow her to exist as both strong and feminine at the same time. Through her newfound wardrobe and personality, she takes command over the group. But for this new volition, another female character's strength had to be compromised, Helen. Because there is only room for one woman with opinions in this Romero-scape. In addition, Ben takes on the annoying traits of the original Barbara and does not outlive her. Barbara still acts out of traumatization, But in a different way than before.
WHO DOES SHE OWE STRENGTH TO?
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WHO DOES SHE OWE STRENGTH TO? ✦
Realism in response
In some ways, the hatred of Barbra itself is patriarchal. The weight of upset with Barbra rests in her reaction being ‘annoying,’ or ‘useless.’ Similarly, the 1990 version of Barbara was branded ‘annoying’ because she was too useful, and it undermined the male characters. If the argument does not honestly lie with Barbras use, what is the basis of it? If it’s not about what she can aid in the survival of the group, the only question left would be, is she palatable? The general consensus is no, but the question itself is rooted in the misogynistic idea that she must be perfect enough to be comfortably perceived. Must grief and trauma be presented in a way that is tasteful and measured? Is it only a woman's duty to display her distress demurely?
To blame Barbra for the poor outcome of the group, is to say that the group was entirely competent, and she somehow got in the way of their intelligence. Despite some being more intelligent than others, each character has at least one moment of grand stupidity. Taking into account the mistakes of others makes it more difficult to believe that Barbara is the only one to be faulted. Barbra was never intended to be a representation of all women and expecting her to be the exemplary idea of womanhood is unfair and unrealistic. Was she frustrating at times? Yes. Is she responsible for any of the key issues in the film? No.