Jennica Core Blog Post #4 - Hepburn and Monroe; Early Feminists, yet Staunch Conformists

Both Audrey Hepburn and Marilyn Monroe performed the majority of their high profile film roles in the 1950’s. However, what is perhaps most unique is how completely different these two actresses were and the roles in which they played. During a time in which ideas about feminism and women’s independence were at a low in the 1900’s, these women both challenged notions of traditional femininity in what appeared as completely different ways that were perhaps not so different after all.

Although Monroe’s “dumb blonde” persona often clouds the way one analyzes her star quality, it is important to note that her “blondeness”, makes her seem that she is “natural and untouched.” This naturalness is what leads to her appeal because she is seen as so pure. Similarly, while a completely different kind of natural, Audrey Hepburn’s popularity is due to her natural European look, a look that Fred Astaire’s characters will call “funny” yet in actuality it is a different type of beauty that Americans looked to a tap into a more “exotic” yet completely natural look.  The “natural” and “untouched” look both these women embodied through their appearance not only made them nostalgic commodities as they resembled something pure during a time in which Europe and other nations were in complete disarray after the war, but they also are interesting, there is something about these women that challenges traditional femininity through this naturalness. Hepburn’s natural tomboyish appearance can be seen as a way of illuminating both “masculine and feminine qualities” while Monroe uses her natural appearance to tap into the idea of female sexuality and female sexual exploration as natural defying traditional assumptions that female appearance is strictly for male consumption.

Monroe illuminating female desirability yet contradicting this by exploring the notion of female desires and sexuality as she caresses herself not allowing the men to touch her, illuminating the notion that her sexuality is for her own pleasure. 

There is no question that Hepburn clearly paves the way in terms of progressing feminine values when we think of several of her film roles. The first time we see her in Funny Face she is not only working (out of the domestic sphere) but she is also working at a book store illustrating a hobby that relies on intelligence, and knowledge both attributes that were often thought to be kept in the masculine sphere. Already her ambiguous looks parallel her ambiguous personality in which her values, and attributes also align with traditional masculine characteristics setting her apart from the other females of her time. On the contrary, Monroe is typically seen as carefully navigating the world of femininity to maintain her desirability to men staying clear of anything far from intelligence (hence her dumb blondness) that she believed would take away from her innocence and desirability. However, the way in which Monroe plays up femininity and female sexuality is not only purely for the consumption of males, she is careful walks that ambiguous line to maintain male attraction but at the same time her comfort with her sexuality can also be seen as a way for her to express her own sexual desires empowering herself and other women during a time in which sexual desires were only thought to be for males. Her performance in the song Diamonds are a Girls Best Friend exemplify her desirability however, the difficulty the men have getting their hands on her illustrate the concept that her sexuality is also for her own consumption not purely others. Monroe is very confortable touching herself which is clearly evident by her performance in this song and she was known to be often seen “caressing herself” which not only feeds the idea of Monroe as a sex object but more importantly illuminates Monroe’s confidence with her own sexuality and her ability to be in touch with her own sexual desires. The type of femininity Audrey Hepburn exemplifies is one that “can include some masculinity” which is generally the way in which female characters continue to challenge stereotypical representations of femininity today. However, while we often disregard Monroe for being completely contrary to anything representative of female progression, clearly we might not be able to discount her quite so quickly as she does challenge femininity in particular raising awareness for female sexuality an extremely important topic that is often not touched upon.

Hepburn conforming to her femininity

Hepburn contradicting traditional notions of femininity

However, on the opposing side the way both these women set a precedent for female progression they also contradict the elements of feminist values that many of their performances enlighten thus making it difficult for audiences to see these women as star vehicles for change because of the elements of conformity they still exhibit. Hepburn is though to “embody not one thing or the other, but both at once,” which is particularly important when we think about how one element of her star image contradicts and essentially overrides the other.  In Funny Face she starts off as the unique independent intelligent girl in the bookstore challenging all notions of traditional femininity however, shortly after her resistance to the fashion industry she conforms and appears seemingly seduced by not only her “beauty” but the possibilities such as romance that have opened up to her once she has allowed herself to become more feminine. This covers up the progressive elements of her character at the beginning of the film which illustrates how her troubles will be resolved when she conforms which is what she does and she does appear to be happy at the end. Similarly, while Monroe may intend to raise awareness about female sexuality, it is often quite difficult to read past the overly sexual body language and clothing that seemingly work to increase her desirability to her male counterparts. Thus while both of the actresses display elements that challenge traditional representations of femininity, the way in which they too conform both in their personal and professional lives remaining concerned about their own presentation of femininity counteract the various progressive elements that they bring to the table in their performances.