Over the weekend Joss Whedon’s ex-wife Kai Cole wrote an article on The Wrap saying that Whedon had “multiple affairs” during their marriage, including with women he had authority over on shows he ran. Obviously, social media’s reaction to Whedon has not been gentle.
When I first saw Chinatown I wasn’t aware of Roman Polanski’s crimes, and so I was (and to an extent still am) able to think of it separately from it’s director. Maybe it’s because I formed an opinion on the art before I knew about the artist, or because the film is an excellent neo-noir that is incredibly compelling and immersive, but I’m able to keep my opinions of the two separate. Even though Polanski appears on-screen in a significant role, I’m able to draw a line in my mind and consider it as a story in its own right.
When Polanski adapted Robert Harris’ novel The Ghost, his involvement caused controversy throughout production. (Though he’s always directed steadily, this was a fairly big name cast, including Pierce Brosnan and Ewan McGregor, alongside Kim Cattrall and Tom Wilkinson.) I felt the film was a slightly inferior adaptation of the novel, which lost a bit of the tension but added more action. But I also felt a little uneasy about the film’s existence before watching it, and the extent to which McGregor seemed willing to defend Polanski struck me as self-serving. That’s not to say that I totally condemn McGregor’s statements – the fact that Polanski’s victim has forgiven him and wants the conviction dropped complicates the issue. But I doubt I’ll be able to watch another Polanski film without a sense of unease.
Continue reading “Feminist Values in the Life and Fiction of Joss Whedon”