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The Rise of Topless Activism: But Is It a Good Or Bad Thing?

There is a worrying new trend in feminism: topless activism. Not men being topless. Women being topless because of course. Even more worrying is the number of women falling for it. The trendy #freethenipple campaign has gained ground when, in fact, it does nothing but mock the real struggle for equality. Amanda Foreman wrote an amazing piece on this for The Sunday Times. She starts off:

“New York last week was awash with nipples. Actually, it was a tiny corner of downtown Manhattan. And it wasn’t so much a sea of breasts, as a handful (or an eyeful) of women who went topless in support of a campaign to “free the nipple”. For the uninitiated, #FreeTheNipple, was the brainchild of 29-year-old Lina Esco, who felt it was unfair that men can show their nipples in public in all 50 states, whereas for women it’s a mere 13. Esco struggled in comparative obscurity until her protest was annexed recently by Scout Willis, daughter of Bruce Willis and Demi Moore. She is locked in an ongoing struggle with Instragram over the freedom to post naked selfies. The internet company maintains a blanket policy against nude photos as a way of deterring pornographers and paedophiles.” 

She then goes on to point out that the previous week in Washington another struggle for women’s rights was happening, Senator Claire McCaskill of Missouri and others were part of a task force to confront the increase in violence against female students on US Campuses. Up a shocking 20% this year. The White House is holding hearings and using Title IX, a 1972 civil rights law, to force universities to provide better protection for female students.

Foreman also goes on to say that “one does not necessarily fuel the other” and makes the good point that countries in which women are covered up are worse for violence against women and sexism but she has a problem with ‘the American tendency to confuse life and death struggles for personal freedom with exhibitionist demonstrations of myopic self-regard’. I think this is well said but I don’t think it is just an American thing.

When it comes to the nipple there is nothing to free. It is everywhere, in television shows, films, magazines, Page Three, online porn,  even women’s magazines for god’s sake. I mean, why do fashion spreads in women’s magazines nearly always have a topless women in? It is just weird.

Thing is, I am not against nudity. Neither is Amanda. She posed nude for Tatler at one point. (no nipples though).  I am not a prude. I wouldn’t go topless on a beach but I love Helmut Newton’s fashion photography. The women in those pictures are all sexy, strong and in charge. Nudity, as with most things in life, is about context.

Femen, the Ukrainian political group, is run by a man and all of the women are slim and gorgeous. When it was Femen member  Inna Shevchenko’s birthday, Femen wrote: “Femen congratulates its most famous leader, real revolutionary, wunderkind of feminism and beauty Inna Shevchenko with her birthday!” The most important word there is ‘beauty’. Femen calls itself a feminist group but is just another organisation that has become famous through the exploitation of women and their bodies. 

They may be put in the paper, but no one is listening to what they are saying. The most interesting thing about Femen’s coverage is how big the pictures are of near-naked beautiful women, compared to how small the print of whatever they are protesting against is.  Anyone can get in the paper for getting their breasts out. It does not take talent or skill, women have been doing it for years and men have been exploiting them and selling magazines and newspapers off the back of that exploitation. When Vladimir Putin was protested against by a topless activist, his leering, pervy facial expression said it all.

Femen: the rise of topless activism

They are called private parts for a reason. People may call me a prude and think I am a killjoy but, actually, it’s rude to try and make someone else live by your rules. Breasts may be ‘functional’ but so is my vagina. I don’t whip that out either.

Some women think that a women going topless is the same thing as a man going topless. Or at least should be. Unfortunately, that cannot happen now. Breasts have been too sexualised for too long. It isn’t fair but the world isn’t fair. Breasts are sexual. They always will be. A topless man is not the same as a topless women. It’s not fair, but it is a fact.

If you don’t believe me, do an experiment. Flash your breasts at a man and then ask him what you said after. If he knows what you said, let everyone know his name; he deserves a medal or something.

Topless activism gets publicity but that doesn’t mean it works. Sex sells and the world is full of perverts. People love boobs and will use any excuse to print them, as long as they are attached to an attractive women.

Even the daughter of Demi Moore and Bruce Willis, Scout,  has gotten in on the act. ‘Protesting’ against Instagram not letting her post topless pictures of herself on Instagram. She then said she was going to ‘move to Europe’. She seems sweetly unaware that in ‘Europe’ we all wear clothes and that walking around topless is called indecent exposure.

She tweeted

Scout LaRue Willis @Scout_Willis 

I’m moving to Europe, people’s victorian sensibilities need to calm the fuck down

What @instagram won’t let you see 

Scout Willis walked around the streets of New York topless to make her point, but she could have chosen something more pressing to use her celebrity for. Like the fact women are stoned to death by their own families or teenagers being raped and then hung from trees in India.

Scout Willis #freethenipple protest Scout Willis #freethenipple protest

 

The thing is, we have to decide what we want. Feminism can’t have it both ways. Either we want to get rid of Page Three because it is wrong and objectifies women or we want to get our nipples out to be ‘equal’ to men. Which one is it? Easy. If you want to be equal to men then ask to be paid the same as them. Ask for the same opportunities. There are more MPs called John in the House of Parliament than there is women. The average college graduate in the US who becomes a mother will sacrifice a million dollars over her lifetime and single women make 90% of what men make. The list of what to fight for is endless and, trust me, freeing our nipples is the least of it.

 

What do you think? Is Topless Activism a good thing?

 

 

 

Dana Wilkey – The Real Housewives of Beverly Hills | Exclusive Interview

Frost Magazine have got an exclusive interview with the gorgeous Dana Wilkey, star of hit American TV show, The Real Housewives of Beverly Hills.

Dana has recently bought a home in London’s Chelsea and is filming her own reality TV show, Rich and Ditched. The show is about Dana and her Irish millionaire businessman boyfriend, Philip Marley, setting up home in Central London and being ‘fish out of water’.

 

Dana has a huge profile in America and when she isn’t starring in  TV shows, she is a party planner for the Hollywood A List.  Her clients include Pierce Brosnan, Anthony Hopkins and  Bruce Willis.

 

What made you move to London?

I moved to London because I was looking for a fresh start from my Beverly Hills, CA saga.  It’s been a rough 6 months.  I have always loved London, have businesses there  and my new boyfriend and have good friends live there so it seemed like a natural progression of things.

 

What is your favourite thing about London?

My favourite thing about London is the currency!  To make money in the pound is the best possible situation to be in for the current global economy… oh! And I love the shopping and the level of your private clubs like Arts Club.
Why Chelsea?

Currently Chelsea seems like the hot spot to be in so I would of course want to live there and join the fun! Also I love the convenience of Kings Road and the fact that most of the brownstones have been redone with lots of modern touches that you don’t find in other more posh areas.


What is the premise of the show, Rich and Ditched?

I have been ditched by my friends in Beverly Hills and my ex fiancé.  I am moving to London to start over and hopefully FINALLY fine my prince charming.  I have 5 people that are both married and single that are all living in London but pretty much all came from some other country that I hang out with and well let’s say the sparks fly on a bunch of fronts…cultural conflict, relationship issues, American fish out of water in London syndrome and the usual cattiness you see on The Real Housewives of Beverly Hills!

 

How much has The Real Housewives of Beverly Hills changed your life?

It has changed my life for the positive and I continue to support the show and fans whenever possible.   If you try to shoot and be honest without a filter it can be a fun experience even if you look like an idiot in the final edit.  You must get over all your fears to be on a reality show so it can be an experience that can help you grow as a person also you meet so many amazing people through the opportunities it can provide.
Why did you leave?

The Real Housewives of Beverly Hills shot some of this so I don’t want to disclose this until I know for sure what will air, but let’s just say my life over the last 6 months has been like the worst movie of the week you can imagine and now I want to have a chance at the Disney ending.

 

How do you feel London will differ from Beverly Hills?

On the down side, the differences are the weather obviously, the systems are more cumbersome and SOME of the people can be really judgemental and reserved compared to what I’m used to.  On the upside, London at the wealthiest levels make Beverly Hills look like the poo so that should make for some good parties, shopping is similar and the average person is so much more global which is so important!

 

What party planning tips can you give us?

I need more info on this question…for what type of party and what budget?

 

What is the best party you have been to?

Monaco Grand Prix ball with Wycliffe and U2.
What is the best party you have planned?

I rented the RM Elegant, which at the time, was the 17th largest yacht in the world during the Cannes Film festival. I then outfitted the yacht rooms with different vibes of décor and lighting.  You had to have a credit card to get on the yacht even if you were invited to the events so it was super exclusive and the talk of Cannes that year. I had Bruce Willis, Bret Ratnor and Petra Nemcova, etc on the yacht that year.

 

What are your plans for Christmas?

I am doing a winter wonderland theme with complete lighting and build out at my house.  I am famous for my Christmas decorations and lights in America. I will host a dinner for about 14 people in my movie theatre in London that will be especially decorated for the Holiday.

 

 

Looper {Film Review}

*WARNING! MAY CONTAIN SPOILERS!*

 

Every year, we are always gifted to a little sci-fi gem that knocks every other sci-fi flick that year. 2009 had two with Moon and District 9. Although 2010 had the fortune of Christopher Nolan’s sci-fi mind-bender, Inception and turned out to be 4th highest-grossing film of that year. Every science fiction film tackles on an idea or theme or concept (District 9 on xenophobia, Inception with dreams). This year, we have Rian Johnson’s Looper and it tackles on probably the most used concept; time travel.

The year is 2044; a huge economic collapse occurred and social decay and organised crime has grown since. Thirty years into the future, time travel is invented but it is also outlawed. Crime bosses find it difficult to dispose their targets, so they send them in time machines to the past. Our protagonist amongst this dystopian future is Joseph “Joe” Simmons (Gordon-Levitt), who works as a looper. A looper are basically hired guns that kill those targets that are sent from the future. Life seems fairly routine for Joe, he goes to nightclubs with his fellow loopers and spends time with showgirl, Suzie (Piper Perabo). Until one day, he gets sent a target and is revealed to be his future self (Bruce Willis). Older Joe manages to escape, younger Joe is then tasked to find his older self but keeping low from “Gat Men”, led by Kid Blue (Noah Segan).

Rian Johnson has really gone all out to make us invested in his vision of 2044, it is something we have seen before (dystopian setting and different social class similar to Children of Men) but Johnson has managed to make this all seem fresh. The use of time travel is very cleverly conveyed on-screen, such as the butterfly effect with a horrific scene where a future looper is escaping but is suddenly receiving scars and losing limbs due to his younger self being tortured and mutilated off-screen. Also scenes where Joe meets Sara (Emily Blunt) for the first time and older Joe suddenly sees visions of what his younger self is seeing. The fact Johnson was able to make us delve into his future setting without much exposition is quite a remarkable feat and making us just go along with the ride!

Joseph Gordon-Levitt makes a wonderful performance, he gets the essence and mannerisms of Bruce Willis rather than impersonates him (such as the smirk and raised eye-brow when he’s being complimented from someone). As the make-up does make him rather unrecognisable, there’s still a sense of uncanny valley with it all. Bruce Willis delivers a subtle and emotional performance, showing the amount of regret but also pain from the things he’s lost and trying to fix all that. The scene in the diner with both Gordon-Levitt and Willis is the highlight of the film, as the older Joe is telling young Joe that he’s a junkie and really needs to be fixed. Whilst the younger Joe is young and naive, pointing out that he can still make his own decisions no matter what has happened with older Joe. It is all very engaging and very amusing to watch as they’re basically trying to top each other. Emily Blunt makes a great performance as Sara, whose a farm girl living outside from the major cities and also tasked on looking after her son, Cid (Pierce Gagnon). She’s a tough character, but also carries emotional weight that makes her a strong character overall. It is also refreshing that Blunt actually delivers a convincing American accent, as most of her roles in her previous work just have her speak in her British accent. Jeff Daniels is one of the great supporting casts playing as Abe, who is from the future to manage the loopers but also run a nightclub Joe frequently goes to. The scenes where he tells young Joe to instead of copying something from the past and make something on your own. Even a funny line where he tells Joes to go to Shanghai, when Joe wants to go to France but Abe then says “I’m from the future, go to Shanghai!”

The pacing, editing, production design, visual effects are very well executed and very well done. The first act is slow, letting you delve into the future and the narration helps you get an idea the tone the film will go. Another scene I really admired was the montage of young Joe growing to the older Joe, it could’ve gone to the conventional route on having a voice-over explaining to us about his choices after his looper contract had ended but it doesn’t and it works beautifully. The technology within the world all felt very plausible, as it was only thirty years into the future that you can imagine cars having one or two additional features. The director wasn’t interested on focusing on the technology or using it as a spectacle, we are aware it is there and will only be used when it is required to (not having to rely on a chase sequence here and there to grab audience’s attention).

Overall; this is a great sci-fi film. The script is very smart and competently written. It is refreshing to watch after the blockbuster season has finished. Gordon-Levitt, Willis and Blunt all make great performances and is certainly one of my favourite films of this year. Highly Recommended!

5 out of 5

Moonrise Kingdom | Film Review

It’s 1965, and we’re on New Penzance Island off the cost of New England. The turbulence of the nation is far away, there’s a storm on the horizon and young love is in the air which has the adults in a fit. This island is the latest whimsical destination of Wes Anderson, the pin up director of commercially successful American independent cinema who has built a loyal fan base since the late 1990s with one of the most unique and recognisable styles in mainstream cinema today.

On said island Anderson introduces us to young Khaki scout Sam and intelligent yet isolated Suzy (newcomers Jared Gilman and Kara Haywood), two twelve year olds who meet by chance and instantly fall for one another. Hated by his fellow scouts, Sam has no hesitation in stealing several camping supplies, quitting the troop and absconding with Suzy who insists on bringing a record player, a Francoise Hardy LP and her collection of science fiction novels. Suzy’s unhappily married parents (Bill Murray and Frances McDormand) are furious and join in the search party led by sad sack Police Captain Sharp (Bruce Willis) and Scout leader Randy Ward (Edward Norton). Time may not be on their side however as the ominous shadows of a hurricane and ‘Social Services’ () bare down upon New Penzance…

From the very opening we clearly are in ‘Wes World’. A gorgeous tracking shot through the elaborate set of Suzy and her family’s home highlights many if not all of Anderson’s directorial flourishes. The very particular framing of the camera and its movement, the positioning of actors and their props, the autumnal colour scheme and frequent overhead shots of hands and key items have defined his style over seven films. I also really admired the incredibly retro titles which even have the traditional serial number beneath the title. His understanding of mise-en-scene (‘what’s in the frame’ for the film buffs) is immediately recognisable and marks him out as one of the few directors working today whom you could instantly recognise from a single frame and Moonrise Kingdom is no exception. His critics accuse him of being to forced in his style and becoming an obstruction to the narrative yet I personally applaud a director who is able to make a film that is clearly their own and can be recognised as a true auteur in the industry.

Anderson is also highly regarded for his skill at marshalling ensemble casts and here he has amassed yet another fine one. Bruce Willis and Edward Norton have a lot of fun subverting their typical ‘dark’ image with fine take on desperate, straight man against the world vibe and it is the former who has the most fun in the role. It could be seen that Willis is deliberately referencing to his back catalogue since he is playing a police officer yet he seems to be playing more to his skills as a comedic actor in the days before Die Hard. The sight of him roaming around the landscape in a beat up station wagon with a bad toupee and Hank Williams crooning away on the soundtrack makes it hard to suppress a chuckle. Previous Anderson stalwarts Bill Murray and Jason Schwartzman tackle their material well and prove further to be the perfect foil for the dry, witty humour. I wish the same could be said for the female performers of the story. Frances McDormand is a brilliant actress and always a joy to watch yet here the role of Suzy’s mother she is not given enough material to form a satisfactory character arc; a sub plot involving an extramarital affair is wrapped up with a mere shrug. Also the magnificent Tilda Swinton is introduced a bit too late into the story to create a fully convincing antagonistic force though I couldn’t help but giggle every time she referred to herself in the third person as ‘Social Services’.

Thankfully it is in its key casting that Moonrise Kingdom truly scores. As the young couple, Gilman and Haywood are simply fantastic and carry the entire film effortlessly. At first their actions appear hopelessly naive yet this is undercut with genuine pathos of young love. There is a deliberate attempt on behalf of the writers to juxtapose the simplicity of their courtship against the dour complexity of the adults of the island. The films setting at a time when this part of America had not yet experienced the turbulent times that would reverberate through the nation’s history is offset with quaint and quiet charm that is genuinely beguiling and in the case of the young love story, quite moving. There is a yearning for a way of American life that simply does not exist today and there is a constant air of slight melancholy running throughout. As the social outcasts discover surprising truths about one another, Anderson focuses on the minuet details of their romance that steadily grow on you and pay off very well indeed.

His critics may complain, but Wes Anderson fans will be on cloud nine with this one and with good reason. With his typically assured style and charm and wit to spare, this easily stands amongst his best work. I personally cannot wait to see what he does next and will always be first in line to enter ‘Wes World’…

CANNES 2012 PREVIEW


The most prestigious and coveted film festival on the planet is upon us as filmmakers, stars and journalists descend on the southern French seaside resort to view and critique some of the most anticipated films of the year. Of course I cannot be going myself; the rigour of the festival is said to drive even the most dedicated of film journalists to the edge let alone a beginner. But I can definitely cast my eye over the selection and pick ten of them that have caught my and other cinefiles eyes. Some of these have confirmed UK release dates, others do not. Either way the calibre of these titles should see them generating plenty of buzz before their arrival on these shores.

MOONRISE KINGDOM

The seventh feature from the king of idiosyncratic American indie cinema Wes Anderson is a period piece set in the mid sixties following two runaway teenagers in love and the haphazard search party that sets out after them. Anderson stalwarts Bill Murray and Jason Schwartzman are joined by newcomers Bruce Willis, Edward Norton and Frances McDormand to name a few. Anderson’s exceptionally detailed, designed and witty directorial style may not be to all tastes but for fans of his work this is set to tick all the boxes.

LOVE

Austrian master of discomfort Michael Haneke returns to France for a tale of a couple who must care for the wife’s elderly parents. French acting legend Isabelle Huppert appears alongside William Shimmel of the magnificent Certified Copy in what would appear to be a more gentle approach for Haneke. Those familiar with his work however, will be prepared for terrible things to happen.

KILLING THEM SOFTLY

The Assassination of Jesse James was one of the most criminally underrated films of recent years so hopes are high for director Andrew Dominik and star Brad Pitt’s reunion in this gritty crime thriller about an underworld investigation into a card game heist co starring Sam Shepard, Richard Jenkins, James Gandolfini and Ray Liotta. Pitt appeared in last year’s big Cannes winner The Tree Of Life. Can he make it two in a row?

COSMOPOLIS

Robert Pattinson has the hearts of millions of Twilight fans and now we find out if he can win critical acclaim in Canadian maestro David Cronenberg’s twisted thriller about a young elitist yuppie travelling across New York City for a designer haircut and getting caught up in a dystopian, cultural revolution. Imagine a science-fiction take on American Psycho.

GRANDMASTERS

Wong Kar- wai has had glory at Cannes before with his visually lush and unconventional takes on traditional genre features with In The Mood For Love and Chungking Express. Now he turns his fine eye to a classic martial arts tale (based on the Ip Man series) with Asian superstar Tony Leung pulling all the moves.

RUST AND BONE

Jacques Audiard is known for his poetic yet brutal dramas such as A Prophet and The Beat My Heart Skipped. Hopes are high for this dramatic tale of a marine park worker crippled in an accident who finds solace with an immigrant bouncer. The magnificent Marion Cotillard plays the lead and after being sadly relegated in recent American roles she may have to clear space next to her first Oscar for La Vie En Rose…

LIKE SOMEONE IN LOVE

Abbas Kiarostami is a master of blurring the line between fiction and cinematic construct and recently had glory at Cannes with Certified Copy. Here he heads to Japan, focusing on the relationship between an aging academic and a student side-lining as a prostitute. Whatever the context of their relationship the director’s previous work dictates that appearances can be deceiving.

ON THE ROAD

Jack Kerouac’s seminal road journey novel has been rolling around studios for years and now Walter Salles of the excellent road movie The Motorcycle Diaries turns his attention to the tale of two young men making their way across fifties America. Sam Riley of the the brilliant Control appears alongside Kirsten Stewart, Kirsten Dunst, Viggo Mortensen, Elisabeth Moss and Steve Buscemi. For the cast alone this is a must see.

LAWLESS

Reminiscent of his gritty western The Proposition, Australian director John Hillcot’s latest is another tale of outlaw brothers (here in prohibition era America) whose familial bonds are pushed to the limit by the pursuing lawmen and each other. Again this is a stellar cast; Tom Hardy, Guy Pearce, Jessica Chastain and Gary Oldman to name just a few.

THE ANGEL’S SHARE

Britain’s poet of the people Ken Loach is another Cannes stalwart and this appears to balance the mix between gentle humour and gritty realism of his previous work and concerns a young tearaway who finds a chance at redemption and success in the surprisingly sophisticated world of whisky brewing and selling.

The Cannes Film Festival runs from 16 May to 27 May.

RED {Film Review}

Like perhaps many of you, I had seen the posters that have seemed to spring up almost overnight. The four vibrant faces of Bruce Willis, Helen Mirren, Morgan Freeman, and John Malkovich. The three big emblazoned letters RED, just inspires thoughts of an action movie that the entire world was waiting for. Encouraging you to think what a dynamic cocktail these actors could make.

Little wonder then that I entered the Cinema not quite sure what to expect. Sure I knew the history; RED is based on the three-issue comic book published by DC Comics and created by Warren Ellis and Cully Hamner. If you have seen comic book to movie conversions though you know as well as I do that it is very much a hit and miss affair how good or bad these movies end up.

“Red”, is derived from the stamp on agent Frank Moses’ (Bruce Willis) file, meaning “Retired, Extremely Dangerous” Frank Moses is a former black-ops CIA agent, now living a quiet life in retirement. However, lonely with retirement he strikes up a slightly somewhat odd relationship with a customer service worker at Frank’s pension office in Kansas City. However, the path of love is never smooth his quiet life of retirement is brought to an abrupt end when he is attacked by a hit squad in the middle of the night.

Frank takes on his assailants and, knowing whoever is after him would have tapped his phone, makes his way to Kansas City to both protect Sarah and also find out who is now after him.

So how does it all play out? Well in my opinion whilst enjoyable the film was a bit of a mixed bag for me. The problem is the genre has been played out so many times before and often with the same actors that I found it hard to get into the movie. To their credit the actors play their part admirably but to my taste I noticed a hint of laziness on more than a couple of occasions. The storyline does permit for some interesting twists with the characters – Helen Mirren as a hit woman turned lady of luxury, John Malkovich as an ex-agent who is now paranoid and always thinks that someone is watching him are great examples of character depth and do produce a chuckle here and a chuckle there. But it is hard to ignore that these are well established actors in their own right and you can’t help feeling that they are capable of doing so much more especially if they were allowed to explore their characters more.

However these might be viewed as minor criticisms as what this movie does well it does extremely well. Adapted for the big screen by brothers Erich and Jon Hoeber (who also wrote the adaptations of Whiteout and Alice) where they did manage to succeed is in the dry, witty humour and quick fire action. I also found the idea of an older operative who is set in his ways having to contend with younger and fit agents as well as new techniques and modern technology quite refreshing. Although, it must be said I saw Bruce Willis in this role in Die Hard 4.0 and it was much a similar vein and did so with more success.

So – my final verdict? If you get the opportunity and are stuck for a movie to go and see you could do worse, however don’t make this the top of your hit list.

By Junior Smart

Frost Magazine