Tonight is Oscar night, and much has been made about the fact that Hollywood is finally becoming more diversified. There is a lot of buzz over films like “Get Out” and “Black Panther,” as there should be.
But how is Hollywood treating peoplewith disabilities these days? One could easily point to heavily nominated films like “The Shape of Water” and “Three Billboards outside of Ebbing, Missouri” as evidence that people with disabilities are finally coming into their own.
But are they really? I have attached two articles written by people with disabilities, who have a decisively personal take on these movies. The first, by Elsa Sjunneson-Henry, discusses her reaction to the main character in “Shape of Water.” As a woman who uses a hearing aid and has vision difficulties, she could relate to much of what the heroine (who is mute) goes through. But it was gut-wrenching for her to hear the heroine say that she was “lesser” than other people, and she was glad that her love interest (a monster) did not realize this.
“At its core,” writes Sjunneson-Henry,”…the Shape of Water asks us to consider what a freak is. Is a monster a god? Is a disabled woman a freak? An outsider? Can she be loved or understood by her own kind, or are the monsters the only ones who can truly understand her?”
In “Three Billboards,” one of the main characters is a dwarf. To the movie’s credit, he is portrayed by Peter Dinkladge, an actor who is in fact a dwarf. But to Eva Squiers, a writer who herself has a form of dwarfism, there was still a whole lot wrong with the way the character was portrayed.
“Dinklage plays James, who introduces himself as the ‘town midget’and whose primary function in the film is as the butt of many jokes,” she writes. “In the cinema where I saw Three Billboards, the audience cackled whenever James spoke. This was painful enough as a response to the script’s cheap shots at short-person jokes – for example when James excuses himself to use the “little boys’ room” or is asked if he can juggle.
“But I was more baffled when the people around me laughed at distinctly unfunny scenes of James playing pool, holding a ladder or asking Mildred (Frances McDormand, whose performance has put her in the running for a best actress Oscar) out to dinner. The source of this hilarity seemed to reside in the mere fact that James existed and that he was short; how funny that he, with his non-conforming body, should have the audacity to present as a desiring subject! What a laugh! This clunky reliance on ableist tropes as a form of humour was disappointing coming from a film lauded for its “moments of sharp, cinder black comedy.”
There are a variety of opinions about both of these movies, and the two writers here do not necessarily have more of a “vote” than anyone else. But because their disabilities continue after the movie is over, they have a particulary knowledgeable perspective that should be heard.
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