Last month I saw the Puccini opera,
Turandot. The staging was incredible and the costumes were stunning but as the
story unfolded, I found it increasingly difficult to sympathise with the plight
of the story’s hero. Puccini’s opera is based on a story from the book ‘Seven
Beauties’ by the 12th century Persian poet, Nizami. In the opera, a
Prince falls in love with Princess Turandot but in order to marry her he needs
to solve three riddles. After solving the riddles, Turandot tries to renege on
the deal, claiming that she has vowed never to be possessed by a man. Fair play,
Turandot. However the chorus insists that the Prince has been successful in his
challenge and therefore deserves to be
rewarded with the princess’s hand in marriage.
While watching Puccini’s opera I couldn’t
help but think of this article on Cracked.com (is a sentence no one has ever
said before). The article argues that men are trained from a young age to
believe that if they are successful, brave or cunning, they, like the prince in
Puccini’s opera, will be rewarded with a beautiful princess.
This trope of the man being given a woman
as a reward for some achievement is very commonplace in fairytales. The 12
Dancing Princesses, Sleeping Beauty and Hans Christian Anderson’s The Tinderbox
all follow this general story.
Now the idea that men should be rewarded
for their actions with women is perpetuated not by fairytales but by films. The Karate Kid, Back to the
Future, Speed and Avatar are among the numerous examples given by Cracked of
films where men are rewarded with beautiful women. Some films are obviously
worse for this than others. The Cracked article mentions Transformers but I
don’t actually think that Transformers deserves all the criticism it gets (is a
sentence no one has ever said before). Shia LaBeouf’s character may be
completely devoid of charm or talent but at least he and Megan Fox’s character,
Mikaela, actually have conversations and vaguely get to know each other before
getting together at the film’s close.
I actually think one of the worst offenders
for this clichéd trope is The Matrix. Neo spends the entire film looking
bewildered and underwhelming people and yet, when he’s getting a serious
ass-kicking by Agent Smith in the third act, Trinity declares her love for him.
Really? I don’t think they actually
have a conversation that is a) longer than a few minutes or b) not about how
awesome Morpheus is. Essentially, just by virtue of being The One, Neo gets a
hot woman and a badass coat.
So from where has this trope originated?
One theory suggests we have the ancient Greeks to blame. In Greek mythology,
inheritance is often passed down the female line so the man who marries the
king’s daughter inherits the throne and the wealth. In The Iliad, Menelaus
becomes king of Sparta through marrying Helen; Oedipus becomes King of Thebes
by marrying the recently widowed queen. And there are similar examples in Celtic
and Breton myths. In a system of matrilineal inheritance, it seems reasonable
for young men to be awarded marriage only after proving themselves through some
sort of challenge because it ensures that the throne and the kingdom’s wealth
isn’t going to some incompetent moron.
The ‘woman as reward’ trope as seen in
films is different from the trope as seen in fairytales. Usually films show the
couple getting to know each other and falling in love over a period of time to
make it more palatable to modern audiences. The women are seen to choose the
men rather than just being presented to them. And there are films that subvert
this trope such as Casablanca, Hancock and, of course, Harry Potter where it’s the
ginger-haired sidekick that gets the girl rather than the titular hero. The
‘woman as reward’ trope probably isn’t going anywhere any time soon but at
least films have to try and show that
the woman has some agency in the
matter.