Courage and Masculinity

The pairing is a traditional one, but one that bears examination and discussion, in part because courage can take so many different forms that have nothing to do with its traditional physical expression.

We had discussion during our session on Mississippi Masala on Demetrius’ flight rather than fight in his relationship with Mina.  This could be interpreted in different ways, depending on how one understands his actions.  The implication seemed to be perhaps he was giving in to social pressure to easily.  I see his actions a bit differently, but regardless of how we interpret his actions here, we see how courage doesn’t always require physical action.  Further, even seemingly courageous acts, something again aligned with a traditionally “masculine” act, such as political resistance, might be viewed in some contexts as the opposite.  For example, Okelo accuses Jay (Mina’s father) of cowardice for openly criticizing Idi Amin because he’s really just afraid to leave Uganda and actually ignoring the danger he’s creating for his family with his outspoken views.  This latter view brings in the complications fatherhood and family introduces to the traditional definition.

In a slightly different fashion, Clint Eastwood’s Dave Garber in Misty is constrained by social convention in retaliating too strongly against Evelyn, especially in public situations.  Evelyn is ingenious in using the masculine against itself to give her the edge.  Notice the look of helpless rage as Evelyn invades his interview with a prospective employer. 

The helplessness comes through even more dire when he realizes the depth of Evelyn’s madness, something he doesn’t have anyway to retaliate or even defend himself against—a distinctly “unmanly” position to extent (though one might also note it is partly derived from his sympathy for her condition, a gentlemanly noblesse oblige).   Evelyn of course depends on it to keep him near.  

The look on his face in an extended dissolve reflects his situation and illustrates a reversal of the usually imposing Eastwood (and by implication “masculine”) gaze.  Suddenly he appears a not so vulnerable, but equally suffering version of the Jefferson Smith imploring look.