Freud’s Nightmare

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B movies are a guilty pleasure. Weekends sometimes allow for guilty pleasures, when I can check my mind at the door, take a seat near the screen, dim the lights and grab the popcorn. 1950‘s sci-fi reflects paradigms that have ossified in some people’s brains, it seems. It has been many, many years since I watched Attack of the Fifty Foot Woman. I was a child the last time I saw it. As an adult the message is strikingly different. The year is 1958, and my parents haven’t even married yet. Millionaire Nancy Archer has a run-in with an alien in a “satellite,” but he only wants her for her jewelry. Meanwhile her cheating sleaze of a husband, Harry, is making out with the redhead at the local, and plotting to kill his wife for her money. So far the story is fine, if tragic. Then the woman, enlarged by radiation, breaks free from her chains, rips the roof from the bar, and grabs her husband. To the local sheriff, there’s only one option—shoot the “monster.” He unloads a riot gun into her, and, hitting a transformer, electrocutes her. The crowd, aghast, run to see if her trashy husband is alive. The wronged woman they ignore. The metaphorical elephant in the room. Role end credits.

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The misogyny of this story escaped me as a child, as did the sexual innuendo. I was only after the cheap thrills of cheap special effects. So I turned to The Incredible Shrinking Man, released a year earlier in 1957. Scott Carey, after sending his loyal wife Louise to the galley for a beer, is hit by a radioactive cloud while on his brother’s boat. An accidental dose of insecticide some months later sets him to shrinking—a freudian fear for all men. As he grows smaller, his will to dominate his wife—now a giant to him, increases. Many scenes end with a tiny man leaving his wife in tears. Even when he is supposed dead, but in reality is too small to make himself heard, Louise is reluctant to leave, in case he still needs her help. Like a short beer, I suppose. The spider scene, which no doubt caused nightmares when I was a child, follows on his monologue about having to dominate his new, tiny universe. The little man shrinks into non-existence with the realization that “to God there is no zero.” What he doesn’t say aloud is, “as long as one is male.”

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These are the 1950s to which some political commentators (and not a few voters) wish us to return. Men fear being dwarfed by women. Call it radiation, or call it social regress, or call it paranoia—the message is all the same. Man must dominate. Women who overshadow are a threat. In the earlier film, Scott Carey is a passively shrinking man. By the next year, when Nancy Archer grows, it is now an “Attack.” Fast forward half a century. Dreamwork’s Monsters vs Aliens makes a parody of Nancy Archer, and Susan Murphy’s fiancé, Derek Dietl (who is clearly modeled on the smug, self-righteous newscaster in Attack of the Fifty Foot Woman) ends up alive, but shamed. The male alien who seeks to dominate her is destroyed. And the male monsters feel somehow less fierce in her presence. As this year’s political posturing clearly demonstrates, there is still a long, long way to go before true equality appears. Many men are clearly stuck in the black-and-white fifties. The full-color, larger than life Ginormica will hopefully better reflect the paradigms of the future.

Attack of the 50-Foot Women

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A society will be remembered by its lowest common denominator. At the mention of the Roman Empire many people immediately think of the decadence of that once mighty power in decline. Rome ruled the world at one time—or so it seemed—but Nero had his fiddle and Caligula favored his horse Incitatus as a senator (today we’re more accustomed to seeing asses in government than horses). The madness of Napoleon. The insanity of Hitler. Mighty powers crumbling under their own weight. Walking through Times Square is an education. Recently a fifty-foot woman appeared, looming over the heads of commuters, tourists, and the homeless. Unlike the classic 1958 sci-fi flick, this woman is apparently happy, smiling broadly, and nearly naked. She is an advertisement for Sports Illustrated’s soft porn swimsuit edition. Stories above us all, she pulls back her hair and, if she weren’t a fantasy, I’m sure she’d be chilly dressed like that in a New York winter.

We’re talking lowest common denominator here. As I man I can’t help but to understand the appeal. Advertisers know it too. At the corner of 42nd and 7th, there is another fifty-foot woman, apparently nude, sitting in an office chair for Go Daddy with a QR card across her torso offering to those who would scan her, “See More Now!” It is difficult to be judgmental when advertisers are using basic psychology to sell their products, and studies have shown that men are very easily aroused by visual images—our juvenile imaginations never do grow up. But women this large? In 1958 Nancy Fowler Archer was salaciously considered a monster, but the producers knew teenage boys would watch in fascination. Such simple creatures.

There is a disturbing subtext here. Men are weaker than they pretend to be, but that doesn’t bother me much. Vulnerability is where humanity is most authentic. The problem with the fifty-foot women in Times Square is the message to American society that women are a commodity. They, like everything else in Times Square, can be purchased and owned. They exist solely for the pleasure of men. I am not a prude, but I do believe that such blatant shows of the female body for sale bear as a subtext “mene mene tekel upharsin.” A society that cheapens its women in such a forum is creating the standards by which a hopefully more advanced future will remember it. Standing beneath the open thighs of the fifty-foot woman on my way to work, I am profoundly sad. This is Rush Limbaugh’s American Dream writ large.