You Haven't Seen the Last of Men

The Full Monty (Peter Cattaneo, 1997)

in Journal of Bodies, Sexualities, and Masculinities
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  • 1 Université du Littoral-Côte d'Opale, France juliesaramichot@yahoo.fr
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Abstract

The Full Monty (Peter Cattaneo, 1997) is much acclaimed as a comedy film. Yet, its screenplay is based on a serious context, contemporary of its shooting—the industrial crisis in the North of England—and deals with its societal effects—a major shift in gender roles and patterns. The real achievement of the male characters is that they resolve gender conflicts adopting cultural practices traditionally reserved for women, asserting their masculinity while posing as sex objects. At a time when men–women relationships are at the heart of debates in the Western World, this article seeks to demonstrate that the movie has a quasi-universal dimension by suggesting that, rather than a reversal of gender roles, a new kind of balance can emerge, with all its attendant “contradictions.”

Contributor Notes

Julie Michot is an Associate Professor of English at the Université du Littoral-Côte d'Opale. She has mainly written about classical Hollywood cinema and is a coauthor, with Dominique Sipière, of a chapter in Critical Insights Film: Alfred Hitchcock (Grey House Publishing, 2017). She has also coedited six volumes of conference proceedings and is the author of two research monographs: Billy Wilder et la musique d'écran: filmer l'invisible [Billy Wilder and Source Music: Filming the Invisible] (Presses Universitaires de Reims, 2017), and Fenêtre sur cour d'Alfred Hitchcock: sortir du cadre [Beyond the Frame of Alfred Hitchcock's Rear Window] (Éditions Universitaires de Dijon, 2019). Email: juliesaramichot@yahoo.fr

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