Book review of From Reverence to Rape by Molly Haskell

From Reverence to Rape: The Treatment of Women in the Movies by Molly Haskell is one of the most important works in the field of feminist film criticism. First published in 1974 and later revised in 1987 and 2016, the book offers a historical and analytical examination of the representation of women in American cinema across several decades, linking these portrayals to broader social and cultural changes regarding women's roles.

Structure and Content of the Book

Haskell opens the book by critiquing the patriarchal structure of Western society—a structure that cinema, as a cultural product, has played a role in reinforcing. She uses the term "The Big Lie" to refer to the deeply rooted belief in male superiority, which has manifested in various ways throughout cinematic storytelling.

The 1920s and 1930s: Submissive Women with Hidden Willpower

In this section, Haskell shows how women in 1920s and 1930s films were often depicted as gentle and submissive on the surface. However, upon closer inspection, some of these characters exhibited significant inner strength and independence. Figures like Lillian Gish and Janet Gaynor exemplify this model. Haskell describes them as "women who rule the world, but no one must know it."
On the other hand, he considers the femme fatale to be a product of the male gaze—a woman who often ensnares men with her sexual allure and controlling power, and ultimately must be punished or destroyed. More than a reflection of women's real power, the femme fatale is a male reaction to the fear of female independence and freedom. In fact, femmes fatales are symbolic of cultural anxieties about the changing roles of women in society, especially during periods when women were entering new work and social spheres. Consequently, by creating this female archetype, cinema exerts a kind of 'display control' over women—that is, it gives women power, but only to the extent that it can ultimately defeat or eliminate them.
 

From Reverence to Rape and the ‘Women’s Films’ of the 1930s and 1940s

Analyzing the so-called "women’s films" popular during this era, Haskell identifies three main types of female characters:

The extraordinary woman (e.g., Bette Davis)

The ordinary woman as victim

The ordinary woman who becomes extraordinary over the course of the story

While these films centered on female protagonists, Haskell argues that they often confined women within male-defined, controllable stereotypes.

The 1950s to 1970s: From Sexy Icons to the Disappearance of Women

In the 1950s, with figures like Marilyn Monroe, women were increasingly portrayed as sexual symbols—widely admired but ultimately serving male fantasies. Although female characters became slightly more complex during the social upheavals of the 1960s, they still remained under the shadow of male-dominated perspectives. In the 1970s, with the rise of new filmmakers such as Spielberg and Scorsese, women were increasingly marginalized, and narratives became more focused on male heroes.

From Reverence to Rape and the Gender Politics of Adam’s Rib

Haskell highlights Adam’s Rib as one of the few classic Hollywood films to achieve genuine gender balance. Directed by George Cukor and starring Katharine Hepburn and Spencer Tracy, the film follows a married couple—both lawyers—who find themselves on opposite sides of a courtroom case.

Reasons for Gender Balance in Adam’s Rib:

Professional and personal equality: Both characters are strong and respected in their fields, and their relationship is based on mutual respect. Haskell refers to their bond as "intelligent love."

Critique of patriarchy: Amanda Bonner, the female protagonist, defends her female client by clearly calling out the societal double standards and inequalities faced by women.

Representation of an independent woman: Amanda is portrayed as determined, intelligent, and capable—thriving in both her public and private life.

Cultural context: The film was made during a period of significant social change, as women had entered the workforce following World War II. The film reflects this broader shift.

From Reverence to Rape is not just a scholarly work—it is a foundational text for understanding how cinema contributes to the reproduction of gender stereotypes. While some of Haskell’s perspectives may warrant re-evaluation today, the book remains a cornerstone in feminist film studies. It is highly recommended for anyone interested in film history, gender studies, or feminist theory.