Suffragette tells the story of the foot soldiers of the early feminist movement, women who were forced underground to pursue a dangers game of cat and mouse with an increasingly brutal state.
The Suffragette movement in England is a well known one and is one that’s of such a historical importance. It’s history tells us of the brutality of the traditional oppression felt by the women of early 20th century women of developed countries and the aggression that had to be taken to have their voices heard. And like many of the previous comments that have been made upon this film, I do have to unfortunately agree that this film doesn’t exactly live up to the strong historical legacy left behind by the Suffragettes. It lacks the passion of the women it presented in the film.
Although the film may not be considerably awful, lacking in its passion and all, it does provide an interesting plot of washer-woman Maud Watts, played by Carey Mulligan, who takes part in the Suffragette’s plight and leads the film with a strong performance. The film does manage to lend some sort of emotion to Mulligan, especially in her relationship with her son and they do resonate powerfully, but apart from the sense of family, and the sudden and tragic death of Anne Marie Duff’s Violet Miller, there’s nothing that really connects us to their plight.
The oppression and brutality presented in a clear manner but the main reason why there’s a lack of any other emotional connection to what’s presented on screen is the film really lacks the passion, as mentioned earlier, to give an accurate and convincing representation of the Suffragette movement.
What I also don’t understand is why two parents would bring their family of three, who looked no more than twelve, to a film that showed the brutalities of the brutalities of the woman trying to win the right to vote. Maybe it was to show them some sort of history, yes, but from some of the moments of conversation I overheard, the two younger children didn’t totally understand what was happening and it shouldn’t be of a surprise to find them scared of a particular scene in which Mulligan’s character went on a hunger strike while in prison and was then forced fed, through a tube, for her disobedience.
A definite watch, for sure, but not an utterly convincing one.