Yet Jodie Foster has a leading role in the new action movie Elysium. How’d she score it? Foster makes a point of having her agent specifically seek out leading-man scripts that can be flipped. Her role in Elysium was originally written for a man.
More actresses might want to do the same, because the Movie Insider database of films in development and pre-production contains films in which there really is no reason that the main character can’t be a woman.
A third installment of Night at the Museum is in the works, for example, but Ben Stiller is not yet signed on to reprise his role. In the first movie of the series, much of the plot and humor relies on the fact that the main character is new on the job–in fact, one could argue that deviating from this set-up is why Night at the Museum: Battle at the Smithsonian grossed only half of what the original did in its opening weekend. The film’s subtitle, Brother From Another Mother (seriously), indicates that Night at the Museum 3 will return to its previously successful formula and introduce a brother to Stiller’s character who has taken over for him at the museum.
Other than the dated and possibly offensive reference in the title, not much would have to change to make the new character a sister. After all, the job of the watchman is essentially that of caretaker, which is a job women do every day. The style of the film does require an actor capable of the kind of comedy for which Stiller is known, but there’s no dearth of female comedic geniuses around these days. The role could be played hilariously by Amy Poehler, Kristen Wiig or Sarah Silverman, to name a few.
Kristin Scott Thomas, who recently told The Daily Mail that she has become invisible compared to younger female actors, could play the lead in When the Starlight Ends, in which “a novelist finds himself with the ability to rewrite his past,” an ability he uses to try to reunite with a lost lover, or in Tomorrow, in which “a man travels back and forth in time trying desperately to prevent the murder of his family.” It shouldn’t be hard to sell audiences on a woman whose primary motivation is, in the first example, love, or, in the second, saving her family. Gender-swapping these roles would also make the films the first major movies in which the female character is the one who can time travel.
To suit Hollywood’s penchant for the heteronormative, wives would probably be flipped to husbands, but that’s part of the fun of cross-sex casting: Not only do women get to play characters who are ambitious and powerful, but men get to play characters who are compassionate, domestic and invested in their relationships above all else. In reality, some men actually are. In this way, the practice has the potential to dismantle deeply held assumptions about the inevitable relationship between gender and sex.
Producers are unlikely to take my suggestions for several reasons:
A) Hollywood has little to gain from subverting the patriarchy.
B) Hollywood relies on international markets, where “woman-centered movies don’t sell,” or so the wisdom goes.
C) American storytelling is still driven by the assumption that is at the heart of the Western canon: The male experience is the universal human experience, whereas the female experience is specialized, driven by biological factors, the absence of which prevents men from being able to see themselves in female characters.
This is, of course, total bullshit. The assumption persists partly because stories in which a male character is defined by his reproductive organs are relatively rare, so biology does not constitute a barrier to empathy, whereas many–if not most–female characters are written as driven by their biology, usually made manifest in characters focused on finding a mate and/or having and caring for children. In the absence of roles written for women in which they desire other things, too–like power, money or justice–gender-flipping provides audiences with female characters designed to represent the universal human experience.
Being able to imagine “men’s” roles being played by women requires practice, but once you get going the possibilities are endless. Imagine a gender-flipped Weird Science (yep, Universal is remaking Weird Science), in which two geek girls use their technological expertise to create the ideal man–played by Channing Tatum or Ryan Gosling, natch. Such a choice would provide a powerful antidote to the original film’s overt male gaze and reveal that the media’s narrowly defined representations of who is beautiful distorts women’s desires as much as it does men’s.
Game of Thrones fans might like to see Gwendoline Christie (Brienne of Tarth) in the reboot of another ’80s classic, Highlander. Ryan Reynolds is currently slated to play the sword-wielding immortal who spends centuries fighting and finding other immortals and taking their power. Many people would consider the character too violent for a woman to play, but Lucy Lawless and Miranda Otto have proven that women can handle swords, and Christie’s background in gymnastics would make her a formidable foe in any century.
No doubt a producer brave enough to flip Highlander would face intense backlash from the largely male fanbase of the original. But science fiction and fantasy are perfect genres for gender-flipping: In a made-up world, anything is possible. Speculative fiction exists to show not just who we are but also who we can be.
Gender-flipping introduces the possibility that women can represent the human experience, leading eventually to more parts written for women that do that. As more creators include women characters who are complex and universal, more people will realize that this makes entertainment better, not worse. Eventually, we won’t even be surprised by it.