I wrongly assumed that it would be easy to fire off a blog briefly summarizing the history of women’s pictures
. When I began, I quickly realized that it is a genre that’s simplistically treated as synonymous with both weepies/tearjerkers
and their near opposite, the rom-com
; it quickly proved to be more than I bargained for, which is why it’s showing up on this, the last day of Women’s History Month
. The history of the genre occupies an interesting position, little discussed and yet obviously affecting and responding to the Hollywood narrative, the larger global film market, and broader history. Anyway, it proved to be a bit too much so, here's the fast & furious driveby account of a genre that deserves more.
First of all, tear-inducing films are by no means all women's pictures, which is why someone coined the annoying term “guy cry
” for young male-targeted stories/films about dying dogs (e.g. My Dog Skip
, Old Yeller, Where the Red Fern Grows
, &c). For adult males, sentimental melodramas (usually tempered by the macho backdrop of war, the wild west or sports (e.g. Bang the Drum Slowly, Brian’s Song, Knute Rockne
) allow men the opportunity to cry with less shame. But, whereas men generally try to resist crying, telling themselves in the heat of a battle scene as the hero lies dying in his buddy's arms, "It's only a movie. It's only a movie. You will not cry!"; women, it is assumed, seek out movies with the hope that they will have "good cry." I have no doubt that this is part of why women’s pictures have rarely been afforded serious critical examination and were only lauded, for the most part, near the beginning of film history.