In preparation for the Oscars, I’m catching up on my “quality” viewing. I saw The Cove yesterday, which is nominated for Best Documentary and might officially get me to stop eating meat. I also saw An Education, which I previously mentioned having an interest in seeing because protagonist Jenny Miller is shown playing a cello in the preview.
Run away, Jenny Miller!; image courtesy of pastemagazine.com
A lot of people are into this one. And there’s a lot to love. Lone Scherfig directed it. There’s a girl protagonist played by Carey Mulligan. The cast of supporting actresses is substantial. And Peter Sarsgaard mines unexpected pathos in his portrayal of David Goldman, a man who is in essence a sexual predator. I wasn’t so enamored with it, but I thought it was good.
For me, it played out less like a coming-of-age narrative and more like a horror movie, thus enforcing that oftentimes the genres come together. I saw Teeth earlier in the week, but An Education was much scarier. A bright teenage girl succumbing to the dubious charms of a much-older shakedown artist (who, as unfortunate stereotypes go, is also Jewish)? Her parents going along for the ride because he is a man of means that might allow their daughter to bypass going to college though they have no idea who he is or what he does for a living? Aforementioned brainy girl protagonist potentially throwing her life away for the romantic idea of a life with a man who exhibits obvious signs of creepiness (apart from swindling and picking up teenage girls at bus stops, I’m never going to think about a banana the same way again)? That said girl blinds herself to the reality that she couldn’t be the first girl he’s preyed upon (and, we discover later, isn’t)? The fact that all of this is based on Lynn Barber’s memoir and thus “actually” happened? Danger, Will Robinson! I literally said “it’s a trap” and shook my head “no” several times during the screening. And as much as I’d like to think gender politics have changed since the 1960s when the story is set, there are still girls who fall for suspicious men and parents who fall right along with them.
Thus the content of the story has informed my enjoyment of the movie. And while the movie is well-made, I find it more than a little disconcerting how race, class, and gender inform outcomes and expectations for girls. Miller almost throws her life away for a man she knows very little about, but still gets to go to college despite skipping her entrance exams. This has much to do with being a middle-class white girl as it does with her intellectual capability, which of course is nurtured by her private school education. Juxtapose An Education with Precious, another period piece that instead focuses on an illiterate, fat, poor, dark-skinned black girl with an extensive history of family abuse. The disparity between our societal expectations and allowances for white girls and black girls is profound. One girl goes to Oxford despite making poor personal decisions because she’s guided by her heart. Another girl is a single mother living with HIV in inner-city New York because the system is set up against her. These girls are never going to cross paths.
But one thing that I thought was interesting about An Education and wished got more emphasis is Miller’s relationship with music. She does play the cello, though not on her own accord. Her father has her take it up so as to seem well-rounded to Oxford’s admissions board.
That said, she does have knowledge of classical music and is a fan of Maurice Ravel. And in the pantheon of white girls in cinema who use phonographic technology in their bedrooms, Miller is but one more example.
Miller with her record player; image courtesy of vogue.co.uk
It’s especially interesting what she listens to. Miller is a Francophile and loves Juliette Gréco. In the scene highlighted above, Miller is listening to Gréco’s No. 7. The movie also features Gréco’s “Sous Le Ciel de Paris,” an idealized take on the city of lights that was recorded by Édith Piaf in 1954.
Miller’s fandom is much to the chagrin of her father, who believes her love of French chanteuses takes her away from with her studies. As he doesn’t feel the same way about her boyfriend, there’s potential for queer panic. However, I think in her father’s case it’s more consciously informed by the belief that interests and hobbies cannot elevate the social status of girls as much as being paired off with a man. I’m glad Miller ultimately chooses her own livelihood over the wishes of men. I hope she kept the records too.
