2019. The year where more strides than ever are being taken to reach equality through means of female and male empowerment alike, and focus needed now more than ever on body positivity. 2019; the perfect year for the release of a refreshing, female dominant blockbuster – Hustlers. The film has a strong female lead, both on screen and behind. With Lorene Scafaria’s brilliant mind writing the screenplay and directing, paired with Kayla Emter as the editor, the film’s subject matter is approached with a different perspective that impacts the way an audience views the characters. This can be seen with a number of the film’s shots; Hustlers utilises the idea of framing, keeping the women up high, somewhat unattainable, in control - and the men below in awe. In the same way, although the female body is explored with the camera, it doesn’t bare a feel of voyeurism and objectification, but a celebration. Scafaria doesn’t include nudity on a scale where the film relies on it, but enough to represent the environment realistically. The director very carefully selects when bodies are shown, only seen when acting as a source of power, confidence and when the woman is taking ownership of her sexuality. Laura Mulvey’s male gaze has shown the way in which male directors frame and shoot women, often representing them as nothing but an object for male prurience. This was a risk for this film; the possibility of the deeper meaning being ignored because of the exposure of the female body, but with the careful eye of two female creators, the film hits the mark.
To avoid the film’s success being discussed only for its female empowerment, Scafaria created a film for everyone to enjoy (as long as they are over 18). With strong character development, comedy, drama and a true grasp on the reality of the life of a sex worker, Hustlers offers the opportunity to see this world in a different light, and the women involved. Scafaria’s approach to directing gives the film an ‘indie’ vibe – with handheld shots, close ups and focus on character over spectacle creating a feel of intimacy with the audience, Hustlers doesn’t conform to Hollywood norms. This is not necessarily a bad thing, but a positive; within the world of Marvel, DC and an endless display of CGI in theatres recently, the films return to the importance of writing and character is refreshing and perhaps a reason for its success. Hustlers’ budget of $20 million was more than tripled by its second weekend in theatres giving the film its seal of approval.
Hustlers follows main character Dorothy (Constance Wu) as she enters, gets to grips with and falls in love with the stripping profession. She finds the family she never had and experiences the luxurious lifestyle that comes along with the ‘side hustle’. However, one that comes with uncertainty, which she experiences first hand when she loses everything in the blink of an eye. Dorothy, at heart, is a sweet girl who puts her (financial) freedom, independence, daughter and grandmother above all else. Scafaria explores, within Dorothy, the struggle of being comfortable in her own skin, and specifically being comfortable with the life of a sex worker – the director explores the mind of Dorothy in all her phases, from her enjoyment and pride in her profession to the condemning of the work as a means of survival. The story is told through Dorothy’s relaying of the events to a journalist.
Alongside Wu on the big screen stands Jennifer Lopez as Ramona. This character brings a whole new meaning to girl power; she is fierce, independent and most importantly – unapologetic. Ramona, with one the best introduction scenes to date, acts as the mother figure for the girls at the club and is idolized by Dorothy, preceding their meet-cute. Firstly, Ramona is a mother, then she is a stripper, who emphasises the athleticism of the job as well as owning her femininity and sexuality. Ramona oozes pride in what she does, even keeping her daughter in the room while herself and her ‘sisters’ celebrate after a night of stripping - censorship is not alive in Ramona’s household. Ultimately, Ramona embodies what the film is about; she is happy and in no way ashamed of her job, and in doing so is inherently rebellious in a society where a women’s celebration of their body and sexuality is considered dishonourable unless serving as a male fantasy. While bringing power, light and comedy to Scafaria’s piece, the character is explored through her relationship with Dorothy.
The ‘absent father’ is a trope frequently associated with female characters, seen often with characters who turn to prostitution, and stripping. As Dorothy is asked “what did your daddy do to you?”, it represents the attitudes towards women in this profession - that they are somewhat damaged. What Scafaria does with this film and with the character, is removes the idea that these women are broken due to the elimination of a father figure. Dorothy’s character has a different dynamic; after being abandoned by both her mother and father, it is a motherly figure she yearns for, which she finds in Ramona. Throughout the film, Dorothy and Ramona work together whilst stripping and pursue their ‘side hustle’ which involves getting wall street millionaires drunk and high enough to swipe their credit card and end their shift five thousand dollars richer. The relationship between the two gets stronger throughout the film until Ramona starts to become reckless and greedy, encouraging Dorothy to step back. In a pivotal scene, Ramona sets up an evening for a client and one of her girls Mercedes played by the wonderful Keke Palmer. The night goes awry, and Ramona is nowhere to be found, leaving Dorothy to clean up the mess. After bringing an unconscious naked man to the hospital, she rushes home to take her daughter to school, reminding the audience she is a mother before all else. Dorothy walks her daughter to the school doors sporting a crop top, camo pants paired with gold knee high boots and decorated with a man’s blood. She walks with her head is as high as her clients and tunnel vision to be the mother she never had. This begins a series of breakdowns between the two that leads to the final question of the film; did they ever make up?
The controversy that came with the film cannot go a miss. Many were surprised that a film about female strippers drugging men in order to steal their money was being celebrated, with worries that it would encourage viewers to support women mistreating men. Undeniably, there is a damnation of men, specifically the rich white Wall Street type which can be argued to be a comment on the twenty-first century society. However, the film represents a pretty even scale, showing how the men use women for sexual satisfaction and the women, in turn, use men for their money – a transaction of sorts. However, the character of Stephen shakes the audience’s moral compass; Stephen is a young, robust, rich man who has trouble with women and so attends strip clubs to endlessly give his money in return for gratification. Ultimately, the characters purpose is to be taken advantage of, by Dorothy. When Dorothy stumbles on bad luck, Stephen is her port of call, and the audience cannot deny the heart wrenching feeling these scenes bring and a sense of disappointment in the protagonist. But, this is what makes Hustlers unique and refreshing; the film is not an hour and forty minutes of male bashing, it is an exploration of the human psyche, the way in which these women do whatever is necessary to survive. Dorothy, Ramona, and their girls do things they are proud of, and others they are ashamed of. In no way does the film set out to represent the women as angels, but displays the ugly side of human nature, showing the women as just that - human.
The cast create the perfect film; Lopez and Wu are a powerful duo, representing sisterhood with a fierce bond; as are Keke Palmer as Mercedes teamed with Lili Reinhart as Anabelle with the questionable stomach, the two offer comedy and sass giving the film its lighter moments within a heavy topic. With cameos from former stripper turned award winning artist Cardi B and Lioness Lizzo, Hustlers has everything. This 2019 hit from Scafaria celebrates women, sexuality and imperfection in one sitting and makes absolutely no apologies for it.
