Review #546: 'Ms. 45' (1981)

Abel Ferrara's film that followed his notorious feature debut (ignoring his hardcore narrative, 9 Lives of a Wet Pussy (1975)), the infamous (in the UK at least) The Driller Killer (1979), Ms. 45 could at first sight, be a rehash of the slasher narrative, but with a female protagonist, or could simply be accused of following the rape-revenge tropes of films such as I Spit On Your Grave (1978). However, the story of Thana (Zoe Tamerlis Lund), a mute textile worker in New York, is a far more complex and metaphysical narrative, seeping with Freudian symbolism, and highlighting the male/female divide within modern society.

On the way home from work, Thana is dragged into an alleyway by an assailant (played by Ferrara) and ferociously raped. To add insult to injury, on arriving home, Thana is confronted with an armed robber, who, on discovering her inability to speak, rapes her again. This is the first scene that I realised what the film would offer in terms of symbolism and meaning. As Thana is raped, she holds tightly onto a faux red apple, as if she is grappling with the original sin of the garden of Eden. Does this image mean that Thana is having feelings of both guilt and fear? It is a simple yet powerful image, which is suddenly obliterated when she strikes the rapist down with the object of original sin, then completes the attack with the shackles of domesticity, when Thana beats the man to death with an iron. The fusion of the apple and iron could represent two pinnacle images of female repression, as placed upon by the "other" gender for centuries of civilisation.

It is an extreme, and succinct way to begin the film, with the incidents occurring so close together, and the already established timidity of Thana (whose handicap would render any person somewhat fearful in a modern metropolis), her nervousness around the male gender becomes heightened. Her paranoia soon reveals an ability to kick back at the dominant gender. She begins by chopping up the man who raped her in her home (she takes the parts out one at a time throughout the film), then is jolting into real action after a couple of confrontations with men on the street. The timidity is thrown off, as she armours herself with "sexuality". The late-'70's early '80's ubiquity for heavily made-up faces is used as a symbol of sexual power, the bright red lips pulsing, and the beret, a symbol of military power (incidentally the head wear was worn by Patty Hearst when taking part in "terrorist" activity with her kidnappers in the 1970's). Thana takes her new powerful image, along with a .45 pistol, stalking the streets, attacking the misogynists of New York night life, penetrating them and taking the power back for the female.

Ms. 45 is an over the top feminist tract, but one that piles on the Freudian subtext. In one scene, Thana is framed with the door to a toilet behind her, the sign "Men" next to her head, as if it is a thought bubble from a comic strip, her internal protestation at all that men represent. This happens at a significant moment, Thana's boss's advances are met with her newly acquired power, and she stares at him emitting sexuality, but only Thana and the audience can understand what will inevitably happen to him. Later at an office party, Thana, dressed as a nun, is confronted with a sister (not in the habit sort of way, but simply a member of the same gender), with confusing iconography. She stands with her skirt lifted at the front holding a knife as if it were an erect phallus, awaiting the opportunity to penetrate, bringing an ellipsis to the narrative.

Ferrara certainly made a far more accomplished film here than his previous shocker. Lund (only 17 at the time) plays the balance of timidity and power incredibly well. She clearly was a smart person, which is further exacerbated when her career shows up with a credit for co-writing (with Ferrara) Bad Lieutenant (1992). I was completely taken by surprise when watching Ms. 45. I was expecting a grim and possibly misogynistic mess (like the aforementioned I Spit On Your Grave), but found an incredibly rewarding thriller, that really fills the screen with images and ideas surrounding the gender roles. And unlike the excessive The Driller Killer, whose artists block scenario was a trifle silly, Ms. 45 creates a very real, and almost justified context in which to present a genuine femme fatale.


Directed by: Abel Ferrara
Starring: Zoë Lund, Albert Sinkys, Darlene Stuto
Country: USA

Rating: ****

Marc Ivamy