Content/Trigger Warning: Rape, Stalking, Sexual Assault
One subgenre of horror is incredibly polarizing to the point where people either despise it or can’t consume enough of it. That subgenre is the rape-revenge film. These controversial films have been popular as far back as the 1970s with films such as Wes Craven’s THE LAST HOUSE ON THE LEFT (1972) and Meir Zarchi’s I SPIT ON YOUR GRAVE (1978), and likely even more films before that.
Rape-revenge films are typically split into three parts. First, the rape and torture of a young woman. Second, the woman survives and does what she can to physically heal from her wounds. Third, the woman tracks down her attackers and exacts her revenge. One of the reasons this is so controversial is typically due to the first part because, oftentimes, the rape and torture sequences are incredibly long and drawn out, making it exceedingly difficult to watch. Some films, such as Coralie Fargeat’s REVENGE (2017), take a much more artistic and tactful approach to the sexual assault sequence that gets the point across without being arduous to watch.
Another filmmaker, who is almost as controversial as the subgenre itself, took a unique approach that might not be immediately recognizable as a rape-revenge film. On the surface, Quentin Tarantino’s 2007 film, DEATH PROOF, may seem like a simple homage to 1970’s car chase films. Upon closer inspection, it becomes clear the film is not only one of the most inclusive rape-revenge films ever made but also shows more aspects of the predator rather than simply the assault.
The first act primarily follows three women: Arlene (Vanessa Ferlito), Jungle Julia (Sydney Poitier), and Shanna (Jordan Ladd). We watch them party and go about their day, but we as the audience also see the women are being watched. An ominous figure in a black muscle car with a skull on the hood remains in the shadows, waiting until the time is right. Then, we finally meet Stuntman Mike (Kurt Russell) at a bar with women visit, eating his nachos, and drinking virgin cocktails. Throughout the night he finds ways to insert himself in this group of women, even participating in a prank the women play on Arlene so she ends up having to give Stuntman Mike a lap dance. When it comes time to part ways, the three women go with another woman, Lanna (Monica Staggs), while Stuntman Mike offers to give Pam (Rose McGowan) a ride home. Stuntman Mike wastes no time killing Pam before driving head-on into the car full of the other four women. Stuntman Mike is the only survivor.
At this point, you might be asking yourself, “How is this a rape-revenge film?” First, while there is no obvious sexual assault, the sexual nature of what Stuntman Mike does is made clear. According to the Internet Movie Database (IMDB), there was a cut-scene in which Stuntman Mike is shown furiously masturbating in his overturned car after successfully crashing into and killing the first group of women. Luckily, this scene was cut, and instead, we learn about the sexual aspect while the sheriff (Michael Parks) hypothesizes this to his son (James Parks). It isn’t explicitly rape, but Stuntman Mike’s actions parallel those of a rapist in a subtle yet powerful way. Even lines like when Stuntman Mike refers to the women as his “other girlfriends” infers this is a sexual assault. Another important thing to remember is that this first group of women shows the predator successfully devouring his prey. It isn’t until we are introduced to the second group of women that the “revenge” aspect of this rape-revenge film takes place.
I highly recommend watching the extended version of DEATH PROOF, specifically because it offers much more character development and context for the second group of women. Now that we know Stuntman Mike’s motives, the audience gets to see more of how he stalks his victims. This time, the women are Zoë Bell (as herself), Abernathy (Rosario Dawson), Kim (Tracie Thoms), and Lee (Mary Elizabeth Winstead). We see the moment he first encounters these women and how he follows and photographs them. A wonderful sequence filmed in one long take of the women eating and chatting at a busy diner allows us to get to know these characters. But, even during this character development, the omnipresent Stuntman Mike is just visible, lurking in the background.
Kim, Abernathy and Zoë go to “test drive” a 1970 Dodge Challenger, leaving Lee behind with the car owner. This leads to the famous action-packed car chase as Stuntman Mike attempts to kill the women while Zoë holds on for dear life on the hood of the car. Here we get to the revenge part of the film. Stuntman Mike fails to kill them, he escapes after Kim shoots him in the arm and then it’s the women’s turn to chase Stuntman Mike down to give him a taste of his own medicine. The final moments of these strong, powerful women just beating the shit out of Stuntman Mike is so satisfying that it makes you want to stand up and cheer.
Looking at how this story is told, Tarantino tells a rape-revenge story with DEATH PROOF in a way that has never been done before, but it still encompasses all the beats necessary for the subgenre. There’s the assault, the recovery (albeit a brief one), and the revenge. The most apparent difference between other rape-revenge films and DEATH PROOF is the use of the car as means of sexual assault, which makes it somewhat less triggering for survivors to watch. Tarantino also takes more time to show the predator stalking his victims, which is different from the random, opportunistic sexual assaults typically shown in the subgenre. These differences are pivotal in making the film great, yet the single most important difference is the women themselves.
In most films of this subgenre, the women tend to all be petite white women. The women of DEATH PROOF are all different shapes, sizes, ethnicities, and come from different backgrounds. It ends up being more realistic because, in real life, anyone can be a target for a predator. It also gives more women the opportunity to see themselves in the film. Most women who enjoy rape-revenge films watch them because it can be a cathartic experience to see rapists get what they deserve, especially when it’s coming from the woman these men attacked because so often men get away with it in real life. The diverse women of DEATH PROOF create an inclusive film so more women can relate to and experience that catharsis.
DEATH PROOF is not only the best Tarantino film, but it’s also one of the best rape-revenge films ever made. It takes a different approach to the subgenre by showing a different kind of sexual assault as well as a different type of predator. The premise can be less triggering for many survivors watching the film, while still allowing for the cathartic experience of seeing the abuser get what’s coming to him. Most importantly, the dynamic women throughout the film highlight a vital part of casting that should be considered in every film: inclusion matters.
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