Feminist Ideas in Film Mona Lisa Smile

FEMINIST IDEAS IN FILM MONA LISA SMILE

A Thesis Submitted to Letters and Humanities Faculty In Partial Fulfillment of the Requirements for The Strata One Degree

LAELATI CAHYANI NIM. 104026000958

ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY “SYARIF HIDAYATULLAH” JAKARTA 2009 FEMINIST IDEAS IN FILM MONA LISA SMILE

A Thesis Submitted to Letters and Humanities Faculty In Partial Fulfillment of the Requirements for The Strata One Degree

LAELATI CAHYANI NIM. 104026000958

ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY “SYARIF HIDAYATULLAH” JAKARTA 2009

APPROVEMENT

FEMINIST IDEAS IN FILM MONA LISA SMILE

A Thesis Submitted to Letters and Humanities Faculty In Partial Fulfillment of the RequirementS for The Strata One Degree

LAELATI CAHYANI 104026000958

Approved by:

Advisor

Elve Oktafiyani, M. Hum Nip. 150 317 725

ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY “SYARIF HIDAYATULLAH” JAKARTA 2009

LEGALIZATION

ABSTRACT

Laelati Cahyani. Feminist Ideas in Film Mona Lisa Smile. Thesis. Jakarta: State Islamic University (UIN) Jakarta, 2009.

This analysis aims to know what kind of intimidations experienced by main character and how the main character shows the feminism ideas in her fighting against the intimidations she experienced in Mona Lisa Smile film by analyzing the evidences from the dialogues in the film, her acts, and her statements. To get the feminist value the writer uses Descriptive-Qualitative analysis as the method to analyze the relationship between the main character and feminism theory. In this analysis, the writer finds out that there are many intimidations experienced by the main female character, Katherine Watson. She is a teacher at Wellesley College in Massachusetts, United States. At Wellesley College, the knowledge that most of her students aspire for is a wonderful husband and they do not care of pursuing any kind of professions. She is very surprised about that and she wants to make a change to women at Wellesley College. As a woman and a teacher, she is very concerned with education. She comes to Wellesley with her new perspective. Unfortunately, it makes her gets disrespectful treatments from people around her in Wellesley. However, she takes the intimidation experiences as her motivation to make positive changes at Wellesley College and to open the young women’s minds at Wellesley College. According to liberal feminism, that for equal rights for women within the framework of the liberal state, arguing that the theoretical basis on which this state is built is sound but that the rights and privileges it confers must be extended to women to give them equal citizenship with men. Those things were done by Katherine Watson in Mona Lisa Smile film. In her every class, she tries to encourage her students to create a new perspective. And she uses her art teachings to tell her opinion to her students that they need not to conform to stereotypes of women to become housewives and mother. To finish, it can be concluded that Katherine’s efforts to open the young women’s minds at Wellesley College shows feminist ideas.

A thesis entitled “Feminist ideas in Film Mona Lisa Smile have been defended before the Letters and Humanities Faculty’s Examination Committee on February

2009. The thesis has already been accepted as a partial fulfillment of the requirement for the degree of Letters Scholar.

Jakarta, February 19, 2009

Examination Committee

Chair Person, Secretary,

Dr. H. M. Farkhan, M.Pd. Drs. A. Saefuddin, M.Pd. NIP. 150 299 480 NIP. 150 261 902

Members:

Examiner I Examiner II

Dr. Frans Sayogie, M.Pd. Inayatul Chusna, M.Hum NIP.150 299 481 NIP. 150 331 233

iii

DECLARATION

I hereby declare that this submission is her own work and that, to the best of her knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgement has been made in the text.

Jakarta, February 19, 2009

Laelati Cahyani

ACKNOWLEDGEMENT

First of all, the writer would like to thanks to Allah SWT, Lord of the universe and the day after. Thank you God for always helping her, and guiding her in every step that she makes and in living her life. Peace and blessing be upon our prophet Muhammad SAW and all of his friends and followers. The writer would like to express her gratitude to her parents. Thank you so much for your financial support, prayers, hope, and all the contributions. And special thanks to her mom. Thank you mom for bringing her into this world and taking care of her patiently and affectionately since the writer was a child. Yo ur advices and rebukes give her strength in living this life. You are her biggest motivator in this world. Thank you for always being there for her. The writer also wants to thank to her brother and sisters for supporting the writer in finishing her thesis. Thank you so much for her brother, Teguh, for picking her up anytime and anywhere, and being so handy; for her sisters, Selly and Nadia, for cheering her up and becoming so patient in listening to all her stories and grievances. The writer cannot fail to mention her advisor Elve Oktafiyani, M. Hum, For her guidance and contribution in finishing this thesis for being patient in giving her advice to finish this thesis. The writer wish to say gratitude to the following persons: 1. Dr. H. Abdul Chair, M.A the Dean of English Letters Department State Islamic University “Syarif Hidayatullah” Jakarta. 2. Dr. H. Muhammad Farkhan M.Pd the head of English Letters Department. 3. Drs. A. Saefuddin, M.Pd. the secretary of English Letters Department. 4. All lecturers of English Letters Department for teaching her during her study at State Islamic University.

5. Miss Rosida Erowati for guiding and helping her finishes this thesis. Thank you for your time, patience and kindness. Thank you for never getting tired of teaching her and giving her advice. 6. All her best friends: Yanti, for her support, sharing, discussion and friendship for all this time; Nia, Woro, and Velma for her time in sharing and discussion. Darma, Noe, Amel, and Kiki thanks to fill her days with smile and laughter. 7. All her friends in C class that the writer cannot mention one by one. Thank you to fill her college days with smile and laughter. 8. All her friends at UIN Syarif Hidayatullah that the writer cannot mention one by one. Thank you for being so kind to her for all this time. May Allah bless us. Finally, the writer realizes that this thesis is far from being perfect. Accordingly, the writer hopes any suggestion and criticism for this thesis.

Jakarta, February 19, 2009

Writer

TABLE OF CONTENT

ABSTRACT ...... i APPROVEMENT ...... ii LEGALIZATION ...... iii DECLARATION ...... iv ACKNOWLEDGMENT ...... v TABLE OF CONTENTS ...... vii LIST OF APPENDIXES ...... ix

CHAPTER I. INTRODUCTION ...... 1 A. Background of the Study ...... 1 B. Focus of the Research ...... 4 C. Questions of the Research ...... 5 D. Significance of the Research ...... 5 E. The Objective of the Research ...... 5 F. Research Methodology ...... 6 1. Method of the Research...... 6 2. Data Analysis ...... 6 3. Research Instrument ...... 6 4. Analysis Unit ...... 7

CHAPTER II. THEORETICAL FRAMEWORK ...... 8 A. Feminism ...... 8 B. Feminist Theory ...... 14 C. History of Feminism ...... 16 1. First Wave Feminism ...... 16 2. Second Wave Feminism ...... 17

vii

3. Third Wave Feminism ...... 19

CHAPTER III. RESEARCH FINDINGS ...... 21 A. The intimidations experienced by Katherine Watson related to women role in film Mona Lisa Smile ...... 21 B. Katherine and Feminist Ideas ...... 27

CHAPTER IV: CONCLUSION ...... 42 A. Conclusion ...... 42 B. Suggestion ...... 44

BIBLIOGRAPHY ...... 45

APPENDIXES ...... 47

viii

LIST OF APPENDIXES

1. The DVD Cover of Movie “Mona Lisa Smile” 2. Summary of Movie “Mona Lisa Smile” 3. The Script of Movie “Mona Lisa Smile” 4. The Picture of Movie “Mona Lisa Smile”

CHAPTER I

INTRODUCTION

A. Background of the Study

In the early times women have been uniquely viewed as a creative source of human life. Historically, however, they have been considered not only intellectually inferior to men but also a major source of temptation and evil.1 Throughout most of history, women generally have had fewer legal rights and career opportunities than men have. In many nation women are not fully equals under the law: they do not have the same rights to make a contract, the same right of association, mobility, and religious liberty2.

Women in the world are lack of support for fundamental functions of human life. They are less well noticed than men, less healthy, and more vulnerable to physical violence and sexual abuse. They are likely much less than a man that has to be literate, and still less likely to have professional or technical education. They must attend hard work place, they face greater obstacles including intimidation from family or spouse, sex discrimination, and sexual harassment in the workplace-all, frequently, without effective legal recourse3.

1 http://www.ywca.org/site/pp.asp?c=djISI6PIKpG&b=295706. accessed on September 28.2008 2 Women’s History of America Presented by Women’s International Center.http://www. wic.org/misc/history.htm. Accessed on September 28.2008 3 Nossbaum, Martha C. Women and Human Development the Capabilities Approach. Cambridge University Press. United States. 2000

1 2

In the past, women are considered as second-class citizens, and not permitted to own property, maintain wages, sign a contract, vote or even hold an opinion to be independent from their husbands. The resulting stereotype that "a woman's place is in the home" has largely determined the ways in which women have expressed themselves. Although some developments have freed women for roles other than motherhood, the cultural pressure for women to become wives and mothers still prevents many talented women from finishing college or pursuing careers.4

Traditionally a middle-class girl in Western culture tended to learn from her mother's example such as cooking, cleaning, and caring for children, were the behavior expected from her when she grew up. Tests made in the 1960s showed that the scholastic achievement of girls was higher in the early grades than in high school.

The major reason given was that the girls own expectations declined because neither their families nor their teachers expected them to prepare for a future other than that of marriage and mother.

The stereotype of women in western culture especially in 1950s is wife and mother. Being a wife and mother were regarded as women's most significant professions. This condition often inspires the film industry to produce film which is related to women culture especially in 1950s. That is what Mike Newell wants to describe throughout the film of Mona Lisa Smile. It is a film about women’s awareness of education. It is a 2003 American film that was produced by Revolution

Studios and Columbia Pictures, directed by Mike Newell, and starring Julia Roberts,

4 http://www.ywca.org/site/pp.asp?c=djISI6PIKpG&b=295706. accessed on September 28.2008

Maggie Gyllenhaal, Kirsten Dunst, and Julia Stiles. The title refers to the Mona Lisa, the famous painting by Leonardo da Vinci, and the song of the same name, originally performed by Nat King Cole, which was covered by Seal for the film. The film is a loose adaptation of The Prime of Miss Jean Brodie, a novel by Muriel Spark, and the title refers to that text.

Mona Lisa Smile is a story of a woman, who happened to be living in

the early 1950s. Katherine Watson (Julia Roberts) is a Berkeley graduate who arrives at Wellesley College, a conservative women's private liberal arts college in Massachusetts, United States, to teach Art History. Initially her students try to outsmart their teacher, which is a little surprising for her, however she does not let them know about it. But she is very surprised when she knows the knowledge that most of her students get at Wellesley and they aspire for is a wonderful husband, and they do not care of pursuing any kind of professions. Because of that she wants to make a difference to women at Wellesley College.

As a teacher and a woman, Katherine tries to open her student’s minds through her teaching. She encourages her students to do whatever they want with their lives. She always makes a difference and gives something new in her syllabus.

She uses her art teachings to tell her opinion to her students at Wellesley College that they need not to conform to stereotypes of women to become housewives and mothers. She gives suggest to her students that they can do two things at the same time, such as having higher education and a family. She does that by supporting one

of her students to apply to a law school. She thinks that they can be leaders in the future.

Her ideas and ways of teaching are contrary to the methods deemed acceptable by the school's directors, conservative women who believe firmly that

Katherine should not use her class to express her point of views and she should stick only to teach art. Katherine is being intimidated. She is warned that she could be fired if she continues to interact with students as she has been doing.

Although Katherine has been warned about her teaching that is not suitable with the syllabus, that has been stated by the school, but she still uses her principle in teaching at Wellesley. She feels that the young women at Wellesley College have the right to pursue higher education and career. She believes that women need to be changed if they want to achieve better futures.

This film shows Katherine’s persistence and fighting in making changes at

Wellesley, although she has to face many intimidations that come from people around her there that dislike what she does. These show the feminist ideas in Katherine’s character. That is why the writer wants to analyze this film by using feminist theory.

B. Focus of the Research

Based on the background of the study above, this research is focused on extrinsic elements. The writer tries to analyze what intimidations experienced by main character and how the main character in Mona Lisa Smile film shows feminist ideas in the era of 1950’s.

C. Research Question

The questions in this research are:

1. What intimidations were experienced by Katherine Watson related to women

role in Mona Lisa Smile film?

2. How does Katherine Watson show feminist ideas in her fighting against the

intimidations she experienced in Mona Lisa Smile film?

D. Significance of the Research

This research aims to share the widest perception of women condition in

1950s as second class citizen and correlate the literary work to the progress of women movement liberation. Moreover, it can give enlightenment to the other researchers in exploring feminist ideas by using feminist theory developed by Betty Freidan.

E. The Objective of the Research

The objectives of this research are:

1. To understand what intimidations were experienced by Katherine Watson

related to women role in Mona Lisa Smile film.

2. To understand how Katherine Watson shows feminist ideas in her fighting

against the intimidations she experienced in Mona Lisa Smile film.

F. Research Methodology

In the research methodology, there are some important aspects such as method, technique of data analysis, data analysis, and analysis unit.

1. Method of the Research

To strengthen the research questions and significant of the research, the method that is used in this research is qualitative method. According to Bogdan &

Taylor in Moleong (2004:3) qualitative methodologies refer to research procedures which produce descriptive data: people’s own written or spoken words and observable behavior. This method describes and analyzes feminist ideas in film

“Mona Lisa Smile”.

2. Data Analysis

In this research, the data that is collected qualitatively analyzed. In this analysis, the writer explains the data in this film by analyzing the main character in

Mona Lisa Smile film by using Feminist theory.

3. Research Instrument

The instrument that is used in this research is the writer herself. The writer tries to get qualitative data about what intimidations experienced by the main characters related to women role in Mona Lisa Smile film and how the main character shows feminist ideas in her fighting against the intimidations she experienced in

Mona Lisa Smile film by watching the film, understanding the story, collecting the

data and classifying the main character in Mona Lisa Smile film itself. Furthermore, the writer relates the existing text with the feminist theory.

4. Analysis Unit

Analysis unit that is used in this research is Mona Lisa Smile film. Mona Lisa

Smile is a 2003 American film that was produced by Revolution Studios and

Columbia Pictures, directed by Mike Newell, written by Lawrence Konner and Mark

Rosenthal.

5. Place and Time

This research is executed on the ninth semester of 2008 - 2009 academic years at English Letters Department of State Islamic University of Syarif Hidayatullah

Jakarta

CHAPTER II

THEORETICAL FRAMEWORK

A. Feminism

Feminism is the belief in the right of women to have political, social, and economic equality with men. The word feminism originated from the French word feminisme in the nineteenth century, either as a medical term to describe the feminization of male body, or to describe women with masculine traits5. It is a discourse that involves various movements, theories, and philosophies which are concerned with the issue of gender difference, advocate equality for women, and campaign for women's rights and interests. When it was used in the United States in the early part of the twentieth century it was only used to refer to one group of women: ‘namely that group which asserted the uniqueness of women, the mystical experience of motherhood and women’s special purity’ (Jaggar 1983: 5). It soon became understood to denote a political stance of someone committed to changing the social position of women. Since then the term has taken on the sense of one who believes that women are subjugated because of their sex and that women deserve at least formal equality in the eyes of the law.

5 Jane Pilcher and Imelda Imelda, Fifty Key Concepts in Gender Studies.(Trown Br Idge, Wiltshire: The Cromwell Press Ltd,. 2004),

8 9

Feminism concerns themselves with women’s inferior position in society and with discrimination encountered by women because of their sex6. Furthermore, one could argue that all feminists call for changes in the social, economic, political or cultural order, to reduce and eventually overcome this discrimination against women.

And these lead women to a feminist movement.

According to Soenarjati Djajanegara the aim of feminist movement is “(…) meningkatkan kedudukan dan derajat perempuan agar sama atau sejajar dengan kedudukan serta derajat laki-laki.” Thus it is clear that the feminism’s aim is to have equal right and position between women and men. The main objective of feminism is to encourage the idea that women and men are totally different in biology but have the same position and rights.7

In the early nineteenth century, feminist movement demanded in the law, economic and social field. They considered the political right was not needed. In economic, feminist demanded property right. Before marriage, the property belonged to their father and their husband. After the women get married, it automatically becomes the property of their husbands. Furthermore, almost working fields were limited of women. In social life, demand was to get the same opportunity in education as men.8 In the past men wanted the women to be good housewife who manage household and family. As a result they could only spend their lives in domestic.

6 Jane Freedman, Concept in The Social Sciences Feminism .(Buckingham: Open University Press, 2001), p. 1 7 Soenarjati Djajanegara, Kritik Sastra feminis, (Jakarta: Gramedia Pustaka Utama. 2003), p.4 8 Ibid, h p.6

The feminist movement of the nineteenth century had several different streams of thought within it. Olive Banks (1981), writing of the British and American scene, separated three groups; the evangelical, the Enlightenment and the communitarian socialist traditions9. Each grouping had its roots in the late eighteenth century. The evangelical feminists drew their inspiration from their religious beliefs

(Quakers, Unitarians, and other non-conformists) and were focused on the social issues of the day. Their feminism was closely related to campaigns to abolish slavery, introduce temperance, and attack prostitution, pornography and immorality. The second group of feminism identified by Banks (1981) drew inspiration from the

Enlightenment which swept intellectual circles Europe in the late eighteenth century.

John Stuart and Mary Wollstonecraft were the central figures in this tradition. They emphasized the importance of rational thought, evidence, and the theoretical ideas of the rights, autonomy and individualism. The communitarian socialist tradition grew out of the French Saint-Simonian movement, and then added Marxist ideas in the later part of the century. Among those who were inspired by socialism are those

Banks calls Utopians, who anted communal living, free love and pooled child- rearing.

In addition, according to Concept in the social sciences feminism by Jane freedman there are basic version of this categorization would divide feminisms and feminists into three loose groups: liberal feminists, Marxist or socialist feminism, and

9 Amanda Coffey and Sara Delamont, Feminism and the Classroom Teacher; Research, Praxis and Pedagogy,

radical feminism. Liberal feminism (equal opportunities), draws on the diversity of liberal thought dominant in Western society since the Enlightenment, and affirms that women’s subordinate social position can be addressed by existing political processes under democracy. For liberals the key battle is access to education; following Mary

Wollstonecraft, it is argued that if men and women are educated equally, then it follows that they will get equal access to society. In addition, liberal feminists would be more likely to accept in limited terms that women and men might well be suited to the separate spheres of home and workplace and simply lobby for greater recognition of housework and caring (the wages for housework debate in the 1970s emerged largely from this position).

Socialist or Marxist feminism (for Further discussion of the differences and similarities, see Whelehan 1995) links changes in women’s social conditions with the overthrow of industrial capitalism and changing relations of the worker to the means of production. For them, revolution is the only answer, although as time has gone on socialist feminists have become more cynical about the prospect of a socialist revolution effecting a change in the lives of women, given the tenacious ideological grip of the current meanings of gender differences. Nonetheless, socialist/Marxist feminists are always mindful of the way society is riven by class and race distinctions as well as those of gender and that it is more useful to consider oppression as multi- pronged and inter related rather than arguing that one form is more destructive than others.

This assumption that men as part of the problem should be part of the solution was a theme in early radical feminism, even though radical feminism is usually associated in the popular consciousness with separatism and man-hating. Radical feminists see men’s domination of women, as the result of the system of patriarchy, which is independent of all other social structures-that is, is it not a product of capitalism. Radical feminists, particularly in the USA, emerged largely from new left and civil rights political groupings. Their politics was broadly radical left, but they become hugely disenchanted with the male-dominated power play witnessed in left- wing radical groupings and formed the Women’s Liberation Movement in order to allow a space for the consideration of women’s oppression outside of the confines of male-oriented knowledge and politics. Their conviction that women-centered politics could only be devised in a women-only space led to a policy of separatism, at least at the level of policy –making and meetings. This politics of radicalism, while drawing political lessons from the new left and civil right movements, wanted a political formation freed from the taint of maleness and therefore espoused leaderless groupings, job-sharing and structurelesness- well beyond the parameters of contemporary democracy. Many of their aspirations have been ridiculed or misunderstood by others and radical feminists are all too often sent up as dungarees, man-hating lesbians, totally obsessed with the politically correct, partly because of the way in which they wanted to shape their own movement was intended to reflect their rejection of anything that smacked of the male political imperative.

Feminist groupings have always contained representations from women of color, working class women and lesbians/bisexual women; yet many became increasingly disenchanted by the ways in which their involvement in the movement rendered their own identities and concerns invisible, despite the rhetoric of reflecting the peeds of all women.

The historical development of feminist (especially in Britain and the USA) is commonly divided into several key periods, some characterized by a relative absence of feminist thought and mobilization, and others by the sustained growth both of feminist criticism and of activism with a high public profile.10 The earlier period

(dating from at least the mid to late nineteenth century up until about the 1920s), became “first wave” feminism. In turn, the resurgent feminist analyses and activism dating from the 1960s became ‘second wave’ feminism.

The different feminist positions that have been articulated since the 1970s have generated different research agendas for education (Weiner 1994). However, both first-wave and second-wave feminism have been concerned with the education and intellectual development and opportunities for women, along with tackling violence against women and children raising the status of women’s and children’s health, and ensuring that female voices and experiences are treated seriously.

10 Jane Pilcher and Imelda Imelda (2004), op. cit.

B. Feminist Theory

Feminist theory is the extension of feminism into theoretical, or philosophical ground.11 Feminist theory aims to understand the nature of inequality and focuses on gender politics, power relations and sexuality. While generally providing a critique of social relations, much of feminist theory also focuses on analyzing gender inequality and the promotion of women's rights, interests, and issues. Themes explored in feminism include discrimination, stereotyping, objectification (especially sexual objectification), oppression, and patriarchy.

Feminist theory emerged from these feminist movements. Feminist theory is based on a series of assumptions. First, it assumes that men and women have different experiences; that the world is not the same for men and women. Some women think the experiences of women should be identical to the experiences of men. Secondly, feminist theory assumes that women’s oppression is not a subset of some other social relationship.12

Feminist theory assumes that women’s oppression is a unique constellation of social problems and has to be understood in itself, and not as a subset of class or any other structure. So feminist theory assumes that the oppression of women is part of the way the structure of the world is organized, and that one task of feminist theory is to explain about how and why this structure evolved.

11 http://www.istheory.yorku.ca/Feminism.htm, accessed on January 2, 2009. 12 Alison M. Jaggar and Paula S. Rothenberg, Feminist Frameworks Alternative Theoretical Accounts of the Relations between Women and Men Third Edition, (New York: McGraw-Hill, Inc, 1995), p. 81

Feminist theory names this structure “patriarchy,” and assumes that a historical force that has a material and psychological base. Patriarchy is the system in which men have more power than women have, and have more access to whatever society esteems. What society esteems obviously various from culture to culture; but if you look at the spheres of power, you will find that all who have it are male.13 This is a long-term historical fact rooted in real things. It is not question of bad attitudes; it is not a historical accident - there are real advantages to men in retaining control over women.

Feminist theory has several purposes. The first is to understand the power differential between men and women. Secondly, the purpose is to understand women’s oppression-how it evolved, how it changes over times, how it is related to other forms of oppression, and finally, how to change our oppression. A third purpose of feminist theory is to overcome oppression. Feminist theory is the foundation of action and there is no pretense that theory can be neutral.

Within feminist theory is a commitment to charge oppressive structures and to connect abstract ideas with concrete problems for political action. It is senseless to study the situation of women without a concomitant commitment to do something about it. The theorist has to draw out the consequence of the theory and use life experience as a part of her basis for understanding, for feeding into the development of theory.

13 Ibid. h. 82

C. History of Feminism

1. First Wave Feminism

First-wave feminism refers to a period of feminist activity during the nineteenth century and early twentieth century in the United Kingdom and the United

States14. First wave feminism movements that were concerned (although not exclusively) with gaining equal rights for women, particularly the right of suffrage.

In particular, the French Revolution of 1798 is often identified as the arena in which the first concerted demands for women’s right were made. Moreover, it was an important influence on Mary Wollstonecraft, whose Vindication of the rights of

Women, published in Britain in 1792, is widely recognized as the first substantial and systematic feminist treatise15. Certainly, A Vindication of the Rights of Women (1792) presents many of the questions that have concerned later feminist cultural theorists: question about women’s relation to (the dominant) culture, to power, to discourse, to identity, to lived experience, to cultural production and to representation.16

According to Wollstonecraft in the book Feminist Thought by Rosemary

Putnam Tong, she said that until century ago, women still lived in the darkness, they are helpless because they are still under controlled by men. Nowadays women have the right to work and build their own career. It shows that women have the right to

14 First wave feminism. accessed on October 16, 2008. wikipedia the free encyclopedia, http://en. wikipedia.org/wiki/History_of_feminism 15 Jane Pilcher and Imelda Whelehan (2004), op. cit. 16 Sue Thornham, Cultural studies in practice: Theory feminist and Cultural Studies Stories Unsettled Relations, (New York: Oxford University Press Inc, 2000), p.?

get a higher education and to live in their own or being independent person. So in first wave feminism focused upon absolute rights such as suffrage.

2. Second Wave Feminism

Second wave feminism is a term used to describe a new period of feminist collective political activism and militancy, which emerged in the late 1960s. The concept of “wave” of feminism was itself only applied in the late 1960s and early

1970s and therefore its application to a previous era of female activism tells us a great deal about the dawning second wave.

Whereas the first wave lobbied for women’s enfranchisement via the vote and access to the professions as well as the right to own property, the second wave feminist talked in terms of ‘liberation’ from the oppressiveness of a patriarchally defined society. Equality had not been achieved by enfranchisement and so it was time to reflect on life beyond the public sphere17. So second-wave feminism refers to the resurgence of feminism activity in the late 1960s and 1970s, when protest again centered around women’s inequality, although this time not only in terms of women’s lack of equal political rights but in the areas of family, sexuality and work.

The movement encouraged women to understand aspects of their own personal lives as deeply politicized, and reflective of a sexist structure of power.

Liberal feminism’s second stage, we saw, seek equality of opportunity; though in

17 Jane Pilcher and Imelda Whelehan (2004), op. cit.

practice that can mean parity, at various levels, with men18. So Second-wave feminism was largely concerned with other issues of equality, such as the end to discrimination.

In the book of American History it is told that during the 1950s and 1960s increasing numbers of married women entered the labor force, but in 1963, the average working women earned only 63 percent of what a man made. In that year, a women author, Betty Friedan, published The Feminine Mystique, an explosive critique of middle-class patterns that helped millions of women articulate a pervasive sense of discontent. Arguing that women often had no outlets for expression other than “finding a husband and bearing children,” Friedan encouraged readers to seek new roles and responsibilities, to seek their own personal and professional identities rather than have them defined by the outside, male-dominated society.

Such a system causes women to completely lose their identity in that of their family. Friedan specifically locates this system among post-World War II middle- class suburban communities. At the same time, America's post-war economic boom had led to the development of new technologies that were supposed to make household work less difficult, but that often had the result of making women's work less meaningful and valuable.

18 Judith Evans, Feminist Theory Today: An Introduction to Second Wave Feminism, (London: Sage Publication, 1995), p. 47

Women themselves took measure to improve their lot. In 1966, 28 professional women, including Betty Friedan, established the National Organization for Women (NOW) to take action brings American women into full participation in the mainstream of American society now. NOW and similar organizations helped make women increasingly aware of their limited opportunities and strengthened their resolve to increase them. 19

3. Third Wave Feminism

The Third-wave of feminism began in the early 1990s. The movement arose as responses to perceived failures of the second-wave. It was also a response to the backlash against initiatives and movements created by the second-wave. Third-wave feminism seeks to challenge or avoid what it deems the second wave's "essentialist" definitions of femininity, which (according to them) over-emphasized the experiences of upper middle class white women. A post-structuralist interpretation of gender and sexuality is central too much of the third wave's ideology. Third wave feminists often focus on "micropolitics," and challenged the second wave's paradigm as to what is, or is not, good for females.

The history of Third Wave feminism predates this and begins in the mid

1980s. This focus on the intersection between race and gender remained prominent through the Hill-Thomas hearings, but began to shift with the Freedom Ride 1992.

This drive to register voters in poor minority communities was surrounded with

19 An Outline of American History. United States: United states Department of State, 1994. p.225

rhetoric that focused on rallying young feminists. For many, the rallying of the young is the emphasis that has stuck within third wave feminism.

From all concept of feminist ideas, the writer uses feminist theory developed by Betty Friedan in second wave feminism in analyzing Mona Lisa smile film. The reason why the writer uses this theory is because it talks about the liberal feminism that seeks the right equality in social life, though in practice that can mean parity, at various levels, with men. Beside that, the condition in that film also appropriate with the condition of American women in 1953 who seek rights in education, career and a family.

CHAPTER III

RESEARCH FINDINGS

A. The intimidations experienced by Katherine Watson related to women role

in film Mona Lisa Smile

Mona Lisa smile tells about a woman lecturer at Wellesley College, a

University that prepares women to manage household and teaches how to become good housewives to their husband. The title of Mona Lisa smile in this film suggests similar situation of the main character in Mona Lisa Smile film that always smiles, although in fact a pile of dilemma destroy her. This condition has a similarity with the famous painting of Leonardo Da Vinci titled Mona Lisa smile. Even though Mona

Lisa’s lip is adorned with smile but there is a deep sadness implied in her eyes20.

In this chapter, the writer discusses Katherine Watson as a main character in

Mona Lisa Smile film. As a main character, Katherine Watson is described as a beautiful woman (see the picture 1 and 2). Although her costume and make up is not really conspicuous among women at Wellesley College but her beauty is admitted by

Giselle Levy, one of her students in Wellesley. This is showed in Giselle’s attempt to show Katherine’s appearance. See the quotation below.

20 Santi, Jika Anda mengira bahwa film ini akan berkisah tentang karya pelukis ternama Leonardo Da Vinci, maka Anda salah. Accessed on November 16, 2008 http://majalahopini. wordpress.com/2008/10/20/resensi-film-monalisa-smile/.. 20.34 pm

21 22

Giselle : Do I look a little bit like her? Connie : Like who? Giselle : Katherine Watson. Betty : You mean, "crap is art"? Giselle : I think she's fabulous.

In the dialogue above, Giselle praise Katherine’s appearance. She even tries to look like her although her friends do not agree with her and insult Katherine.

However she keeps defending her opinion by imitating Katherine’s appearance in front of mirror (See picture 3). It shows that Katherine is a beautiful woman and it admitted by one of her students, Giselle.

In this film Katherine Watson is also described as an educated woman. It is shown when she studies at UCLA graduate school.

Katherine : And I got to go to graduate school. Connie : UCLA, right?

Katherine is not only an educated woman but she is also a woman who is aware about education especially for women. That is why she becomes teacher in

Oakland State senior high school. Her awareness about education is also shown when she wants to teach at Wellesley College.

In the opening of this film, Katherine is also depicted as a persistent woman.

It is narrated that Katherine has wanted to teach at Wellesley College all her life. She pursues it until she gets it. Here is the quotation narrated by her student, Betty:

All her life she had wanted to teach at Wellesley College. So when a position opened in the Art History department. She pursued it single-mindedly until she was hire, It was whispered that Katherine Watson a first-year teacher from Oakland State. Made up in brain what she lacked in pedigree. Which was why this bohemian from California. Was on her way to the most conservative college in the nation.

From the narration above, we can see that it is very difficult to get a position at Wellesley College but Katherine tries so hard to get that position. She pursues it until she is hired. And her effort is not useless. She gets the position as an Art History teacher.

In this film Katherine’s appearance is narrated and visualized as a perfect woman. However that condition does not avoid Katherine from accepting intimidations from people around her in Wellesley. The first disrespectful treatment she experienced is when she teaches her class. Initially her students try to outsmart her. All of her students have already mastered all the material in syllabus that she will teach. Her face is very pale at that time (see the picture no 4). And then her students disregard her by leaving the class although the class is not finished yet (see the picture 5). This situation makes Katherine fells insecure.

Katherine : Could someone please get...? Thank you. By a show of hands only how many of you have read the entire text? Susan : And the suggested supplements. Giselle : Long way from Oakland State? Katherine : Well, you girls do prepare. Betty : If you've nothing else for us, we could go to independent study.

Katherine also gets disrespectful treatment from one of her student, Betty when she warns Betty’s attendance in her class. She wants her students discipline in her class. Katherine does not give looseness attendance to her students that get married.

Betty : Well, thank God I didn't miss the paint-by-numbers lecture. I was on my honeymoon and then I had to set up house. What does she expect? Katherine : Attendance. Connie : Most of the faculty turns their heads when the married students miss a class or two. Katherine : Then why not get married as freshmen? That way you could graduate without actually ever stepping foot on campus. Betty : Don't disregard our traditions just because you're subversive. Katherine : Don't disrespect this class just because you're married. Betty : Don't disrespect me just because you're not. Katherine : Come to class, do the works or I'll fail you. Betty : If you fail me, there will be consequences

From dialogue above, Katherine wants her students discipline in her class. But

Betty uses the college’s policy to refuse Katherine’s rules in her class. Katherine is very angry and she tries to ridicule the students. But Katherine’s opinion about the college’s policy for married students gets disrespectful treatment by Betty. Katherine gets the hard protest by Betty. She assumes Katherine disregard the rules that established by the college that give looseness attendance to their student have get married. She also assumes that she disregard the college’s policy because she is not married. She also thinks that Katherine is subversive that wants to change the tradition that they hold in Wellesley College.

Katherine’s opinion about a marriage is what offends some of her students and this makes her look like an unorthodox, subversive, and a liberal woman according to the standards of that time. Betty thinks that Katherine brings a negative inspiration for the Wellesley girls because she applies a modern way of teaching and suggests a new idealism about how to be a woman; therefore she tries to find a way to get rid of her.

Married Wellesley girls have become quite adept at balancing obligations. One hears such comments as: "I baste the chicken with one hand and outline the paper with the other.” While our mothers were called to work for Lady Liberty. It is our duty, nay, obligation to reclaim our place in the home bearing the children that will carry our traditions into the future. One must pause to consider why Miss Katherine Watson instructor in the Art History department has decided to declare war on the holy sacrament of marriage. Her subversive and political teachings encourage our Wellesley girls to reject the roles they were born to fill.

Seeing from the quotation above, Betty assumes that Katherine is one of woman that confronts a marriage. It makes Katherine feels angry. She feels that it is a slander because she never encourages her students to reject the roles that they believe, although she is not marriage. She just assumes that every relationship is not always to be ended with marriage. Because she thinks marriage is not the one purpose of her life. There are many options beside marriage and caring family such as having higher education and career.

Giselle : She got engaged over Christmas! The students : Congratulations! Giselle : I'm sorry to blab. Joan : It's just so romantic. How fantastic! Katherine : We split up. Joan : What? Katherine : We split up. Well, that was fast. Well, not every relationship is meant for marriage.

In her professional life at Wellesley, Katherine gets intimidation from

President Carr, the head Master of Wellesley College. Katherine is warned that her contract in college will be finished if she continues to interact with the students outside the subject as she has been doing for all this time.

President Carr : I have been getting some calls about your teaching methods, Katherine. They are a little unorthodox for Wellesley. We are traditionalists, Katherine. Katherine : Yes, I noticed. President Carr : So if you would like to stay here. Katherine : Is that a question? President Carr : More a discussion. Katherine : About my staying here? President Carr : You'll have your formal review in May. Until then a little less modern art. President Carr : Happy holidays. Katherine : And to you

From the dialog above we can assume that the faculty cannot accept

Katherine’s modern methods of teaching in her class at Wellesley because they are still traditional. And they think Katherine’s way of teaching is unorthodox for

Wellesley. She must stop the way of her teaching such as give a new material beyond the lecturer and give her lesson out of class. She must follow the rules established.

So, they warn Katherine that she could be if she still continues to teach the student with her own way, she will be fired. Although she gets complaint from boards of

Wellesley about her ways in teach and she will be fired if she does not follow the rules established. But she defends her idealism to teaching the students with her own way.

However, Katherine takes all the intimidations as a motivation to make positive changes at Wellesley College. She wants to change the mindset of her students that still hold the tradition established by the college. Katherine sees teaching art history as an opportunity to open the girls’ minds, enabling them to see all the possibilities that life has to offer beside marriage and family. Her efforts to

open the young women’s minds at Wellesley College represent feminist ideas. Those will be discussed in the next discussion.

B. Katherine and Feminist Ideas

One of the aims of Feminist Criticism is to expose patriarchal premises and resulting prejudices. It also aims to identify and oppose the various ways women are excluded, suppressed and exploited.21 In other words, women should not have opportunities in all sectors for example in politics, economy, education and social life. The stereotype of women that "a woman's place is in the home" has largely determined the ways in which women have expressed themselves.

The movement of feminism focuses on removing the self-awareness of women about their under developed position in society. It is important because most women, who live in a patriarchal society, do not aware that they are opposed by patriarchy. In addition, women have been stereotyped too many times, and the film

Mona Lisa Smile is a good example in recognizing those stereotypes.

Mona Lisa Smile sets at Wellesley College in the early 1950s (see the picture no 6 and 7). The purpose of the film is to construct the viewer’s perspective and to transform the world in which Katherine lives. This film shows how women are labeled to certain stereotype and are not suggest doing two things at the same times, such as having career and family.

21 Using feminist criticism on the movie Mona Lisa Smile. http://pant0mime.wordpress.com/ 2007/03/18/using-feminist-criticism-on-the-movie-mona-lisa-smile/. Accessed on November 12, 2008.

The main character in this film is Katherine Watson. She has landed her dream job at Wellesley Girls College and her chance to influence the best female minds in the USA. She is very surprised when she knows the knowledge that most of her students at Wellesley aspire for is a wonderful husband and they do not care of pursuing any kind of professions. Because of that she wants to change the mindset the girls that have established by College. It is shown in the beginning of the film when she comes for the first time to Wellesley. Katherine wants to teach at Wellesley

College, a conservative woman’s private liberal art college in Massachusetts, United

States. She becomes an Art History teacher at Wellesley College. She comes to the

Wellesley College to make a different, as narrated by Betty.

Katherine Watson didn't come to Wellesley to fit in. She came to Wellesley because she wanted to make a difference.

From the explanation above, Katherine wants to make change the point of view of Wellesley Board of school and the students about women rules to conform to stereotype of women to become housewives and mother. Because she thinks that women have the same right and position in society. They have right to pursuing their goal beside marriage.

Moreover, Katherine’s desire to make a change at Wellesley can also be seen when she meets Professor Will. When Katherine goes to a bar to get some drinks, she meets with Professor Will there. He says that Katherine is a progressive woman who has forwards thinking. Beside that, he also says that Katherine comes to Wellesley to set the young women free from the old tradition.

Will : Yeah, they say you're progressive, a forward thinker. Are you? Katherine : There are a lot of labels here. I have noticed. Right family, right school, right art, right way of thinking. Will : Well, saves the effort on thinking for yourself. Katherine : How do you expect to ever make a difference if everything is a joke? Will : Oh, Katherine Watson comes to Wellesley to set us all free? Come on. Katherine : Thank you for the drink.

From that dialogue, we can see that the college has the standard mindset about right family, right school, and right art at the time. That is why she want to change the girls mindset about new perspectives in life beside the standard mindset that established by the college. She shows it clearly in every chance that she has from the ways she teaches her students and her thought. That is why almost everyone in

Wellesley knows about her personality that is progressive and her mission to make a change. On the other hand, her seriousness about what she believes is offended by will’s statement that assumes that thing just as a joke.

Like it has been discussed before, Katherine Watson has gotten some intimidation from people around her such as her students, board of Wellesley

College, etc. However, she is successful in using those intimidations to motivate her to think positively.

When Katherine gets disrespectful treatments at the first time she teaches her class, she tries to survive at Wellesley College by her idealism. She never gives up on that condition. In every occasion in her class she tries to encourage her students to

think forward and progressive in their life. She thinks that they have an opportunity to do whatever they want in their life.

Depart from intimidation that Katherine accepts, it becomes a motivation for her to make a difference at Wellesley College. She finds a way to solve her problem by herself. She does not look for any helps or reference from anyone. So, on her second day in class she makes a change. She makes a new material syllabus beyond the lecture. One of the realizations of that attempt is to change the point of view of her students at Wellesley College. It can be assumed from the quotation below:

Betty : What is that? Katherine : You tell me. Carcass by Soutine. . Susan : It's not on the syllabus. Katherine : No, it's not. Is it any good? Come on, ladies. There's no wrong answer. The girls : There's also no textbook…………….. Katherine : Telling you what to think. It's not that easy, is it?

From the explanation above, we can see that Katherine uses the new material to teach her students. She is well prepared to teach art which material is not in the textbook, such as Chaim Soutine's Carcass of Beef. She wants to introduce to the girls at Wellesley about new art beyond the lecturer. Beside that she encourages the girls to tell what they think about the art and create new perspective.

Katherine : Could you go back to the Soutine, please Just look at it again. Look beyond the paint. Let us try to open our minds to a new idea.

From the quotation above, Katherine tries to give some new painting in her syllabus. The purpose is to ask the girls to think in a new perspective. She wants her students to give opinion and create new ideas.

Her persistent to make her students to think in a new perspective it shown when she encourages her students to study in the different place expect the class (see the picture no 8).

The student : Which way? Katherine : Let me just see here. I'm not sure. The student : Where are we supposed to go? Katherine : I think it's here. Come this way. We're almost there. Joe. Hello.

We can see from the dialogue, she is also innovative in her teaching. She gives her lesson out of class that is never been done by any teachers in Wellesley before. It proves that learning process is not limited by place or time. She wants to give a new atmosphere to her student because she thinks they should not study at the same place such as class. She also encourages her students to see a new painting by

Jackson Pollack (see the picture no 9 and 10).

Giselle Levy : That's Jackson Pollock. Joan : In a word. Connie : I was getting used to the idea of dead, maggoty meat being art, now this. The student : Please don't tell me we have to write a paper about it. Katherine : Do me a favor. Do yourselves a favor. Stop talking and look. You're not required to write a paper. You're not even required to like it. You are required to consider it. That's your only assignment today. When you're done, you may leave.

From the dialogue above, Katherine teaches a modern art, she uses painting of

Jackson Pollack which material is not on their syllabus. She tries to ask the students to create new idea from the painting of Jackson Pollack. Katherine also gives her students freedom to say what they think in her subject.

In traditional society, women do not have opportunity to get higher education, or to have a certain job. Even though women have education, usually it is only just for supporting her part as a wife and a mother.22

According to Rosemary Putnam Thong, society must give an education to all women, just like men, because all human being have an equal right to get an opportunity to expand the capacity of their intellectual activity and morality, so they can become a personhood. The feminist uses education to free themselves as people who are able to achieve the happiness and pleasure fulfillment. With education, women can get a job that she really likes and can show herself, her ability and her capacity.23

Katherine wants to liberate her students from a very conservative tradition.

One of the realizations of her effort to change the mindset her students is shown when

Katherine calls Joan to her office out of Wellesley College. She calls Joan because

Joan gets C in the task that is given by her. She wants to give a chance to Joan to revise her paper.

22 Soenarjati Djajanegara, Kritik Sastra feminis, (Jakarta: Gramedia Pustaka Utama. 2003) 23 Rosemary Putnam Tong, Feminist thought: Pengantar paling komprehensif kepada aliran utama pemikiran feminist, (Jogyakarta: Jalasutra., 1998)

Joan : Yes, you do, but a very busy one. Katherine : And it says here that you're pre-law. What law school are you gonna go to? Joan : I hadn't thought about that. After I graduate, I'm getting married. Katherine : And then? Joan : And then I'll be married. Katherine : You can do both. Just for fun, if you could go to any law school, which would it be? Joan : Yale. Watson : Yale. Joan : They keep five slots open for women, one unofficially for a Wellesley girl. Katherine : But you haven't really thought about it.

As we see from the quotation above, Katherine uses that occasion to encourage Joan to apply for a law school, something that Joan did not even consider.

However Joan does not take the opportunity to apply the law school because after her finishing from Wellesley she chooses to get married. But Katherine tries to suggest

Joan to take the opportunity because she assumes that women can also do two things at the same time, like having higher education and a family.

Katherine tries to register Joan in the Yale school. Tommy Joan’s boyfriend appreciates to Katherine about what she does to Joan but him objectionable about that. He thinks if they got married it is difficult to ask Joan to get dinner at five o’clock if she school in Yale.

Tommy : No, nothing official Yet. I meant, I got into Penn. Grad school. Katherine : Congratulations. What about Yale? Tommy : Yale? Oh, you mean Joanie. Yeah. How about that, huh? She is some girl. Katherine : She's terrific. Tommy : Yeah. Just the fact that she got in. I mean, she will always have that.

Thanks to you. Miss Watson, you've been real swell to her. We both appreciate it. Katherine : I'm sorry. "The fact that she got in," what does that mean? Tommy : Well, she'll be in Philadelphia with me. Well, that's an awful long commute to get dinner on the table by five o’clock.

Although Tommy does not agree about what she does with Joan, her persistent to encourage Joan accepts in Yale University it is not stoppable. It is shown when Joan was accepted in Yale University. Katherine comes to Joan’s house to tell her about the law school that Katherine offers to Joan although Joan refuses. As the quotation below:

Katherine : Seven law schools within minutes of Philadelphia. You can study and get dinner on the table by five o’clock. . Joan : It's too late. Katherine : No. Some accept late admissions. I was upset at first. Joan, the guests. When Tommy told me that he got accepted to Penn, I thought "Her fate is sealed. How can she throw it all away?" I realized you won't have to. You could bake your cake and eat it too. It’s wonderful

From the explanation above, Katherine tries to motivate Joan to accept the law school in Yale. And Katherine also tries to convince her that she actually can do both having education and get dinner at five o’clock with Tommy. But Joan decided not to go to Yale University because she chooses to get married and become a housewife.

Joan : We're married. We eloped over the weekend. Turned out he was petrified of a big ceremony so we did a sort of spur-of-the- moment thing very romantic. Look. Katherine : It's beautiful. Joan : It was my choice not to go. He would have supported it. Katherine : But you do not have to choose. Joan : No, I have to. I want a home, a family. It is not something I'll sacrifice. Katherine : No one is asking you to sacrifice that, Joan. I just want you to understand that you can do both.

Joan : Think I'll wake up one day and regret not being a lawyer? Yes, I'm afraid that you will. Not as much as I'd regret not having a family. Not being there to raise them. I know exactly what I'm doing, and it doesn't make me any less smart. This must seem terrible to you. Katherine : I didn't say that.

From the explanation above, we can say that Katherine always suggests women to develop themselves before and after marriage. She thinks that Joan has the right to get knowledge as high as possible. And she wants to open Joan’s mind that women do not have to choose between school and marriage. For her marriage is not prevention to someone to pursue their goal. Although Joan decides to choose marriage compared with continuing her study, she keeps trying to convince Joan to get both education and family.

According to Betty Friedan who published The Feminine Mystique, an explosive critique of middle-class patterns that helped millions of women articulates a pervasive sense of discontent, women often had no outlets for expression other than

“finding a husband and bearing children.” Friedan encouraged readers to seek new roles and responsibilities, to seek their own personal and professional identities rather than have them defined by the outside, male-dominated society.

It is also what Katherine does to her students. She wants to encourage the students to seek their own personal and show their capability in society although she gets disrespectful treatments from an article written by her student, Betty. She never encourages her students to reject the roles that they believe. She only wants to the girls there is another option beside marriage.

In one occasion, Katherine shows her students the portrait of women at that time. In the class, she shows some slides of article in newspaper (see the picture no

11). That article shows women who become wives after graduating from senior high school. She uses that article as a satire for her students. She wants to open her students’ eyes that they have the same right with men. As quote below:

Katherine : What will the future scholars see when they study us? A portrait of women today? There you are, ladies. The perfect likeness of a Wellesley graduate. Magna cum laude, doing exactly what she was trained to do. Slide. A Rhodes scholar. I wonder if she recites Chaucer while she presses her husband's shirts. Slide. Now, you physics majors can calculate the mass and volume of every meat loaf you make. Slide. A girdle to set you free. What does that mean? I give up. You win. The smartest women in the country. I didn't realize that by demanding excellence. I would be challenging.

From the quotation, we can see that Katherine is sarcastic with the graduated students of Wellesley. She regrets that the best graduates from Wellesley only become good wives. She tries to encourage the students to open their minds that women actually have same abilities as men have. However, for all this time it is not explored and being underestimated by men. In addition, Katherine thinks that they do not value it either. Besides that, she is also disappointed with the young women at

Wellesley College that only think about how to become a good wife. They are not willing to continue their study and pursuing their goal.

Katherine hopes that women at Wellesley College can become a leader or become successful women not only good wives for men. But, she cannot find one woman who did as she wished for. She is also disappointed with the school, which only educates the students to become good wives.

Katherine : To hell with Wellesley. I'm done. Goddamn it! It's brilliant, really a perfect ruse. A finishing school disguised as a college. They got me. Wills : What do you expect? Katherine : More More. I thought it was a place for tomorrow's leaders, not their wives.

From the quotation above, she is very angry with Wellesley. She feels cheated with that college, they disguised as a college to prepare her students to become good wife to their husband. We can learn that Katherine is hoping more from the girls at

Wellesley College. She encourages her students to actualize themselves in public. She thinks that women do not always have to become the stereotyped women whose place is at home, but they can be a next leader if they want. Because she believes that

Wellesley College has the best and brightest female students who have the capability of becoming next generation's leaders.

Katherine’s effort to stimulate her students’ mind about their true identity is shown when she talks with her students out of class. She shows a Van Gough’s painting to them (see the picture no 14).

Joan : Sunflowers. Vincent van Gogh 1888. Katherine : He painted what he felt, not what he saw. People didn't understand. To them, it seemed childlike and crude. It took years for him to recognize his actual technique to see the way his brush strokes seemed to make the night sky move. Yet, he

never sold a painting in his lifetime. This is his self-portrait. There's no camouflage, no romance, Honesty. Now, years later, where is he? Giselle : Famous? Katherine : So famous, in fact, that everybody has a reproduction. There are post cards. We have the calendar. With the ability to reproduce art, it is available to the masses. No one needs to own a van Gogh original. Susan : We do in the Newport house but it's small, tiny Katherine : They can paint their own. Van Gogh in a box ladies. The newest form of mass-distributed art: Paint by numbers. Connie : "Now everyone can be van Gogh. It's so easy. Just follow the simple instructions...and in minutes, you're on your way to being an artist. Giselle : "Van Gogh by numbers? Katherine : Ironic, isn't it? Look at what we have done to the man who refused to conform his ideals to popular taste. Who refused to compromise his integrity. We have put him in a tiny box and asked you to copy him. So the choice is yours, ladies. You can conform to what other people expect or you can... Betty : I know be ourselves.

From the dialogue, we can see that Katherine wants to persuade her student to change their perception. He gives an example of Van Gough’s painting. She explains to them that Van Gough actually a truly genius painter but no one honors him or his painting just because he uses his original idea in painting that is not same with most of others painters. And he refuses to change it. He still persists to keep his own idea.

Finally years later, people realize his genius and honor him. This is what Katherine wants her students to do. She does not want them to become like what people want them to be like, a stereotype of ideal wives. They deserve to be what they want to be and be themselves, not following the stereotype of women existed in society.

Katherine has given a new subject for her students, the subjects that open her students’ minds to pursue their goal. Nevertheless, Katherine also gets subject from her students.

Joan : You stand in class and tell us to look beyond the image, but you don't. To you, a housewife is someone who sold her soul for a center hall colonial. She has no depth, no intellect, no interests. You're the one who said I could do anything I wanted. This is what I want.

In Joan’s statement, she knows that to become a housewife is not also a bad option. To become housewife is not also obsolescent and not progressive. Women value cannot be decided only from their profession. The important thing is the decision that they make is what they want, without any compulsion from anyone.

Katherine’s confession about her willingness to make a different and open up the girl’s minds at Wellesley College is shown when she writes a letter to Betty.

Dear Betty: I came to Wellesley because I wanted to make a difference. But to change for others

Seeing from the explanation above, Katherine comes at Wellesley to make a change by opening the young women’s mind at Wellesley College. She hopes to the young women at Wellesley College that they can fight for pursuing their goal beside marriage. She opens her student’s minds uses her ways of teaching. She wants to liberate them from the old traditions that they hold at Wellesley such as the way of thinking about the right art, family, school, and thinking. And she wants to compel all her students to see the world through new eyes. She wants to open her students’

minds to see all the possibilities that life has to offer that is not just marriage and family.

By the end of the film, Katherine is able to make her students realize on how they should plan their own lives. It is shown when Betty Warren, who has been turned down by her mother after her failure in marriage, seeks help from her teacher,

Katherine, when she decides to file for a divorce.

Betty’s mother : Elizabeth, I don't see Spencer. Betty : Excuse me, Mother. Miss Watson, can you help me get in touch with your friend in Greenwich Village? Betty’s mother : What do you need in Greenwich Village? Betty : An apartment. I filed for a divorce this morning. And since we know I'm not welcome at your house. You remember Giselle Levy? What did you call her? "A New York kike." That's it. Well, we're going to be roommates. Katherine : Greenwich Village? Betty : Yeah, for a while. Then, who knows? Maybe law school Yale, even. Well I wouldn't want to come up against you in any court anywhere. Maybe I can drop by next year? Keep you on your toes. You will be here? Miss Watson?

From the quotation above, we can see that Katherine has made a change by opening up Betty’s mind about women roles that they have right and equal opportunity in social life as men have. Betty decides to divorce with her husband and move to an apartment. She also decides to continue her study to Yale University and take law as her major.

Her success in opening the young women’s minds at Wellesley College is not included in film’s story, but it was told through a narration of her student, Betty, in the end of the film.

My teacher Katherine Watson lived by her own definition and would not compromise that. Not even for Wellesley. I dedicate this, my last editorial to an extraordinary woman who lived by example and compelled us all to see the world through new eyes. By the time you read this, she will be sailing to Europe where I know she will find new walls to break down and new ideas to replace them with. Hold it, everybody. I have heard her called a quitter for leaving an aimless wanderer. But not all who wander are aimless. Especially not those who seek truth beyond tradition. beyond definition, beyond the image.

We can see that Katherine has opened her student’s minds, enabled them to see all the possibilities that life has to offer beside only think of marriage and family.

Katherine wants to liberate her students from the very conservative tradition and make them to be brave to say that they want their own lives. Katherine wants to prove to her student that they have an equal right to get an opportunity to get whatever they want in their life. Beside that, she also encourages her students to pursue their goal.

Her attempts to make positive changes of the girls’ minds at Wellesley

College show that Katherine represents feminist ideas. We can see from what she thinks. She wants to change the girls’ mindset about new perspective in life. She wants to use her knowledge to put her opinion to the young women at Wellesley

College, that they need not to conform to stereotypes of women made by society, or the roles made for them by society that women were born to become housewife and mother. Katherine tries to struggle for the girls’ rights for having higher education, and not only staying at home and becoming good wives. Katherine thinks that they have a chance to be whatever they want. She feels that women can do more things in life than solely adopt the roles of wives and mothers.

CHAPTER IV

CONCLUSION AND SUGGESTION

A. Conclusion

In this research, the writer analyzes about Feminism that not only depends on women in patriarchal but also women who break tradition controlled by patriarchal and make changes toward women that are still controlled by men. Mona Lisa Smile film sets at Wellesley College in the early 1950s. The writer finds that this film reflects the condition of American women in early 50s. In 1950, women are considered as second-class citizens. With declining, a stereotype that "a woman's place is in the home" is always felt by women in the world even up to that time.

Beside that, this film also reflects the women conditions at that time that still hold the tradition controlled by patriarchal. Being a wife and mother were regarded as women's most significant professions. But the main character in this film, Katherine

Watson, does not represent one of them. She even tries to change it. And this is what she does when she teaches at Wellesley College.

Katherine Watson (Julia Roberts), the main character in Mona Lisa Smile film, is a Berkeley graduate who arrives at the women’s college, Wellesley, to teach

Art History. Unfortunately, she gets some disrespectful treatments from people around her in Wellesley College. Initially her students try to outsmart her, which is a little surprising for her, however she does not let them know about it. Depart from all

42 43

intimidations from people around her in Wellesley College, she makes positive changes. But what really frustrates her is the knowledge that most of her students at

Wellesley aspire for is a wonderful husband and they do not care of pursuing any kind of professions. Women at Wellesley College are under controlled by men.

Women do not have the same right to pursue their goal. And Katherine tries to break that tradition. She survives in Wellesley College with her idealism to change the mindset of the student’s minds. In every occasion in her class she tries to make the students realize by giving a new material beyond the lecture to encourage the girls to think a new perspective in life. She makes the students realize that they have rights to show up their capability in public as men have. She also suggests her students that they can do two things in the same time such as having family and their goal.

From all explanation above, we can see that Katherine is a progressive woman that is trapped in an environment that still holds an old tradition at Wellesley College.

Her new perspective in making women equal to men, especially in education, makes her faces some intimidations from people there. However, she takes all the intimidations as a motivation for her to change her students’ minds. And all of her efforts are not useless. She finally made it. She is successful in making her students realize that they can have higher education and family in the same time. All of her persistence and fighting in making changes at Wellesley shows feminist ideas, so it can be concluded that the main character in this film represents the feminist ideas.

B. Suggestion

Firstly, in analyzing film or literary work, the writer should use the right theory or approach in order to have the right comprehension of the film or literary work itself. In this occasion, writer uses feminism theory in analyzing Mona Lisa

Smile film, but it is possible for the other researches to use another theory or approach in analyzing this film. The other researchers who want to analyze this film can also use some aspects in film that are not used by writer, such as character and characterization to get a broader comprehension of the film.

BIBLIOGRAPHY

Alison M. Jaggar and Paula S. Rothenberg, Feminist Frameworks Alternative Theoretical Accounts of the Relations between Women and Men Third Edition, ( New York: McGraw-Hill, Inc, 1995)

Amanda Coffey and Sara Delamont, Feminism and the Classroom Teacher; Research, Praxis and Pedagogy,

Anonymous, An Outline of American History. United States: United states Department of State, 1994

Anonymous, Using feminist criticism on the movie Mona Lisa Smile. http://pant0mime.wordpress.com/2007/03/18/using-feminist-criticism-on-the- movie-mona-lisa-smile. accessed on November 12, 2008

Anonymous, Women’s History of America Presented by Women’s International Center. http://www.wic.org/misc/history.htm. Accessed on September 28.2008

Bogdan and Taylor, Introduction to Qualitative Research Methods. A Wiley- Interscience Publication. United States of America. 1975 http://www.chowk.com/articles/12266. accessed on November 12 2008. 20.23 pm http://www.ywca.org/site/pp.asp?c=djISI6PIKpG&b=295706. Accessed on September 28 2008. http://en.wikipedia.org/wiki/History_of_feminism. Accessed on October 16 2008. http://majalahopini.wordpress.com/2008/10/20/resensi-film-monalisa-smile/. Accessed on November 2008. 20.34 pm

Jane Pilcher and Imelda Imelda, Fifity Key Concepts in Gender Studies. (Trown Br Idge, Wiltshire: The Cromwell Press Ltd,. 2004)

Jane Freedman, Concept in the Social Sciences Feminism. (Buckingham: Open University Press, 2001)

Jonathan Crowther , Oxford Advanced Learner’s Dictionary; vol 5, (1995).

45 46

Judith Evans, Feminist Theory Today: An Introduction to Second Wave Feminism, (London: Sage Publication, 1995)

Nossbaum, Martha C. Women and Human Development the Capabilities Approach. Cambridge University Press. United States. 2000

Rosemary Putnam Tong, Feminist thought: Pengantar paling komprehensif kepada aliran utama pemikiran feminist, ( Jogyakarta: Jalasutra., 1998)

Soenarjati Djajanegara, Kritik Sastra feminis, (Jakarta: Gramedia Pustaka Utama. 2003)

Sue Thornham, Cultural studies in practice: Theory feminist and Cultural Studies Stories Unsettled Relations, (New York: Oxford University Press Inc, 2000)

Appendix 1 The DVD Cover of Movie “ Mona Lisa Smile”

Appendix 2 Summary of Movie “Mona Lisa Smile”

“Mona Lisa Smile” strives to be an emotion filled story about women’s roles during the 1950’s or the era of Eisenhower, but the outcome is a flimsy uneven film. Katherine Watson (Julia Roberts) is an independent woman that has just landed a job as art history professor at the renowned Wellesley College during the mid-1950’s. The college is an all-women school that nurtures perfection and skilful academics. However, the school is run by its alumni and believes that women should receive an education, but after getting married, they should do nothing but be a housewife. This is where Katherine and the college’s opposing values clash. Her class is may up of many students, but the film only focuses on a selected few. The first is Joan (Julia Stiles), who has recently gotten engaged, but Katherine urges her to pursue her dream of continuing her education at Yale Law School on top of being a housewife. Connie (Ginnifer Goodwin) is the underachiever that is looking for love and Giselle sees sex as natural (Maggie Gyllenhaal) by even having flings with her Italian professor Bill Dunbar (Dominic West). On the other hand, Dunbar is intrigued by Katherine and begins to try and break her mold. The antagonist for Katherine more than the school itself is the snickering Betty Warren (Kirsten Dunst), who is a prodigy of the school that believes since she has recently married class is secondary. The art taught in the class comes into play as a parallel to the characters’ conflicts, in which the title of the film refers to looking past the paint of the famous Mona Lisa painting.

Appendix 3

The Script of Movie “MONA LISA SMILE”

All her life she had wanted to teach at Wellesley College. So when a position opened in the Art History department. She pursued it single-mindedly until she was hired. It was whispered that Katherine Watson a first-year teacher from Oakland State made up in brains what she lacked in pedigree, which was why this bohemian from California was on her way to the most conservative college in the nation.

The woman 1 : Excuse me, please. Katherine : Oh, sorry. Katherine : Excuse me. Excuse me. The bus? The man : Keep walking, ma'am. Katherine : Thank you.

But Katherine Watson didn't come to Wellesley to fit in. She came to Wellesley because she wanted to make a difference.

Professor Dunbar : Violet. Violet : My favorite Italian professor. Nice summer? Professor Dunbar : Terrific, thanks. Who's that over there? Violet : Where? Oh, Katherine Watson. New teacher Art History. I'm dying to meet her. President Carr : Who knocks at the Door of Learning? Joan : I am every woman. President Carr : What do you seek? Joan : To awaken my spirit through hard work and dedicate my life to knowledge. President Carr : Then you are welcome. All women who seek to follow you can enter here. I now declare the academic year begun. The woman 2 : A shame you didn't come yesterday. It's so quiet before the girls arrive. Just a few rules. No holes in the walls. No pets, no loud noises, no radio or hi-fi after on weekdays on weekends no hot plates and no male visitors Anything wrong? Katherine : I don't think I can go a year without a hot plate. Nancy : Don't you just love chintz? And look They match Sweet, right? Your room's here. My room is just across the way and Amanda Armstrong's down the other end. Katherine : You grew up here? Nancy : My whole life. You'll meet my parents when they come to visit. Katherine : They visit? Nancy : Regularly.

Katherine : What do you teach? Nancy : Speech, elocution and poise. Dinners are communal, so I'll handle that. But breakfast and lunch, you're on your own. So we each get our own shelf. I'll make your label this evening. I don't need to tell you, everything on our individual shelves is sacrosanct. I just knew when we met we'd be instant friends. Amanda : Be careful. They can smell fear. Katherine : Good morning. The students : Good morning. Katherine : Thank you. This is History of Art We'll be following Dr. Staunton's syllabus. Any questions so far? Connie : Your name? Katherine : Why don't you go first? Connie : Connie Baker. Katherine : Katherine Watson. Nice to meet you. Giselle : Dr. Watson, I presume. Katherine : Not yet. And you are? Giselle : Giselle Levy. Katherine : Giselle. If someone could get the... Susan : Susan Delacorte. Susan : Thank you, Susan Delacorte. Katherine : From the beginning, man has always had the impulse to create art. Can anyone tell me what this is? Joan : Wounded Bison, Altamira, Spain about 15.000 S.M. Joan Brandwyn. Katherine : Very good, Joan. Despite the age of these, they are technically sophisticated because …… Joan : The shading and the thickness of the lines moving over the bison's hump. Is that right? Katherine : Yes, that's exactly right. Next slide. This is probably less familiar. It was discovered by archeologists... Betty : In Lascaux, France. Dates back to1879. 10.000 S.M Singled out because of flowing lines depicting the movement of the animal. Katherine : Impressive. Name? Betty : Herd of Horses. Katherine : I meant yours. Giselle : We call her Flicka. Betty : Elizabeth Warren. They call me Betty. Katherine : Very good. Betty is also correct. Just because something is ancient doesn't mean that it is primitive. For example. Next slide, please.

Susan : Mycerinus and His Queen 24 S.M It's a funerary statue of the pharaoh and queen originally intended to preserve the pharaoh's ka Soul. Katherine : Have any of you taken Art History before? The students : No. Katherine : Let's go on. Slide. The student 1 : Seated Scribe. Egypt 2400 S.M Peasant Couple Plowing. Sixteenth century B.C. Egypt. The student 2 : Snake Goddess. Minoan B.C. Fresco. Minoan 1600 S.M Funeral Mask. Mycenaean. Katherine : Could someone please get...? Thank you. Katherine : By a show of hands only how many of you have read the entire text? Susan : And the suggested supplements. Giselle : Long way from Oakland State? Katherine : Well, you girls do prepare. Betty : If you've nothing else for us, we could go to independent study. Katherine : Ac... The woman 3 : I was in California once. How do you get work done with all that sunshine? Katherine : We tan in class. The woman 3 : Really? Katherine : No. The woman 3 : You know, not everybody wanted you. I'm not naming any names. These jobs usually go quickly. Ex-students, friends of, you know the right people. The person they wanted took a job at Brown, and no one else was available. So here you are. You can go in now. Good luck. Dr. Staunton : Your first class left a lot to be desired, Miss Watson. And I'm curious about the subject of your dissertation. You suggest, "Picasso will do for the century. What Michelangelo did for the Renaissance," unquote. In terms of influencing movements. So these canvases that they're turning out these days with paint dripped and splotched on them. They’re as worthy of our attention as Michelangelo's Sistine Chapel? Katherine : I'm not comparing them. Dr. Staunton : Have you ever seen the Sistine Chapel, Miss Watson? Katherine : Actually stood there? I've never been to Europe. I can assure all of you this is the place. I want to be more than anything. Dr. Staunton : Better discipline next class, Miss Watson.

Paul : Hello. Katherine : It's me.

Paul : Hey! The woman 4 : Collect from Katherine Watson. Will you accept? Paul : Yeah, sure, of course I will. Hey, is everything okay? Katherine : Yeah. Paul : Tough, huh? Paul : Well, how are the classes? Snobs, right? I hate to say I told you so.. Katherine : You don't have to. I can't really talk right now. I'll write you tonight. Nancy : So you got a fella? Katherine : He's... He's there, I'm here. Nancy : Long distance. Torture. Katherine : I know. Nancy : Come. Come in and sit down. When Lenny left for the South Pacific, it nearly broke my heart. We wrote every day until He was a great man. I'm sorry. It was a hundred years ago. I'm babbling. I love Lucy. Even if she is a communist. The only thing red about Lucy is her hair. And even that's fake. Amanda : Dessy said it. Winchell wrote it. Amanda Armstrong. I see you survived. Katherine : Katherine Watson. Just barely. Nancy : Oh, good. You've met. Katherine's taken the third bedroom. How about a little dinner before What's My Line? Amanda : How about a little drink? Nancy : Her companion died in May. Katherine : Companion? Nancy : You know, companion. Josephine Burns. Taught biology here for years. Amanda : You'll love it here, Katherine. Katherine : You'll see. I already do. Honestly, it's beautiful. It's perfect, really. Amanda : Well, don't fool yourself. They have claws underneath their white gloves. Katherine : Who? Amanda : The alumnae, their offspring, the faculty. You name it. Watch out for yourself. Too much independence frightens them. Nancy : Will you please stop? Amanda : Oh, a word of advice. Nancy : Don't let those girls Amanda : Know that they got to you. Katherine : They didn't. Amanda : Good for you. You almost convinced me. Betty : What is that?

Katherine : You tell me. Carcass by Soutine. Susan : It's not on the syllabus. Katherine : No, it's not. Is it any good? Come on, ladies There's no wrong answer. There's also no textbook telling you what to think. It's not that easy, is it? Betty : All right. No. It's not good. In fact, I wouldn't even call it art. It's grotesque. Connie : Is there a rule against grotesque art? Giselle : I think there's something aggressive about it and erotic. Betty : To you, everything is erotic. Giselle : Everything is erotic. Katherine : Girls. Susan : Aren't there standards? Betty : Of course. Otherwise a tacky velvet painting could be equated to a Rembrandt. Connie : My Uncle Ferdie has two tacky velvet paintings. He loves those clowns. Betty : There are standards, technique, composition, color, even subject. So if you're suggesting that rotted side of meat is art much less good art, then what are we going to learn?. Katherine : Just that. You have outlined our new syllabus, Betty. Thank you. What is art? What makes it good or bad? And who decides? Next slide, please. Twenty-five years ago someone thought this was brilliant. Connie : I can see that. Betty : Who? Katherine : My mother. I painted it for her birthday. Next slide. This is my mom. Is it art? Susan : It's a snapshot. Katherine : If I told you Ansel Adams had taken it, would that make a difference? Betty : Art isn't art until someone says it is. Katherine : It's art! Betty : The right people. Katherine : Who are they? Giselle : Betty Warren! We're lucky we have one right here. Betty : Screw you. Katherine : Could you go back to the Soutine, please? Just look at it again. Look beyond the paint. Let us try to open our minds to a new idea. All right, back to chapter three. Has anyone read it? Okay. Connie : "When your courses are set, and a dream boat you've met have a real cigarette. Have a Camel." I've got my courses, I've got my Camel

cigarette. Where is my dream boat? Giselle, where is my dream boat? Giselle : Betty's cousin isn't good enough? Connie : I haven't met him. Betty : Don't encourage her. He's only escorting. Connie as a favor. Connie : Why are you like this? Betty : I didn't mean that. I'm just under so much pressure with the wedding. Do you realize November is three weeks from now? Giselle : Oh, honey. Don't have it. Betty : Don't come. Giselle : Here. Here. Betty : I'm working on table seating now, so I can just erase your name. Giselle : Can I see it? Betty : No. Giselle : Let me look. I can't look for a second? Betty : You want to see where Bill is sitting. No. That is over. Right? Connie : Right? Giselle, right? Giselle : Damn it. Do I look a little bit like her? Connie : Like who? Giselle : Katherine Watson. Betty : You mean, "crap is art"? Giselle : I think she's fabulous. Betty : Well, no man wanted her. Giselle : She isn't dead. She's at least Oh, no. No. Betty : I guess she never wanted children. Giselle : For your information, Katherine Watson had to take this job to escape from California. Connie : Please. Giselle : She had a torrid affair with a Hollywood movie star. She came here to get away. Connie : That's ridiculous. Who was it? Giselle : I don't know. Connie : Who was it, Giselle? Don't be a pimple! Tell me! Giselle : It's ridiculous. Connie : Tell me. No, it's not. You know. You know something. Tell me. Giselle : It's William Holden. Connie : Fantastic! Giselle : I know. Betty : Who is it? Connie : William Holden. Joan : I know. I know. I'm late. I'm Abject pleading, apologies, forgiveness.

Tommy : Is she giving you any trouble? If these girls can't get back on time, know what I say? Lock them out. The woman 4 : Come on. Out! I'm going to lock the door. Out! The Woman 5 : Bedtime, ladies. Bedtime. Let's go. Bedtime. Joan : Hey, Betty. The woman 5 : The Quiet time, ladies. Giselle : Women like Katherine Watson don't get married because they choose not to. Betty : No woman chooses to live without a home, unless she's sleeping with her Italian professor. Connie : You are so critical. Betty : I am not. Giselle : Of course you are. You're your mother's daughter. It's a classic Electra complex. I don't blame you. I mean who wouldn't want to murder your mother? Hey. How's the Harvard sweetheart? Connie : Got an extra ciggie? Giselle : Did you do his homework? Joan : Of course. Giselle : Want to do mine? Joan : No. Connie : This isn't what I think it is. Is it? Joan : Where'd you get it? Giselle : From the school nurse. Betty : It's against the law. Giselle : Oh, honey. It's a girl's best friend. Betty : A certain kind of girl. Giselle : Meet the last virgin bride. Betty : Spencer is a gentleman. Giselle : And even gentlemen have dicks. Connie : Maybe I'll get one. Giselle : What? A dick? Betty : Don't be stupid, Connie. Connie : Someone, somewhere, someday might be interested. Just in case. Just in case, I'll be prepared. Joan : Was that necessary? Betty : I was taught it's best to speak honestly. Giselle : Okay. You're a bitch.

Narrated by Betty : We recently learned that Amanda Armstrong our nurse, has been distributing contraception to Wellesley girls. This revelation is disturbing to an institution that prides itself on propriety.

Nancy : Go, go, go! Go, go! It's been going on since the late 's. Whoever wins is first to marry! Katherine : Do the girls take it literally? Violet : Only the girl with the winning hoop. Oh, look, it's Phyllis Nayor! Nancy : Good for her. It gets me every time. Katherine : Why the buggies? Violet : They've got their man. Nancy : They're wishing for their babies. Will : Have you seen this? Katherine : What is it? Professor Dunbar : It's a front-page attack on Amanda Armstrong. Betty Warren wrote it. Katherine : "By providing contraception on demand, our school nurse is little more than a cheerleader for promiscuity." Wow. Nancy : Oh, they're not going to dump her in a lake! Violet : I'm coming, Phyllis! Katherine : Have you seen this? Nancy : I wouldn't worry. Betty's just a young girl flexing her muscles. Professor Dunbar : So was Lizzie Borden, and her mother wasn't president of the alumnae association. Would somebody get that girl a towel! Katherine : That's her mother? Professor Dunbar : Apple, tree. Katherine : Is Amanda going to get into trouble? Nancy : Amanda needs to start minding her p's and q's. Professor Dunbar : The trick to surviving Wellesley is never getting noticed. Ciao, Mona Lisa. Nancy : The big war hero. He thinks he's something special. He sleeps with his students.

Betty’s mother : The gold is fine. The napkin rings are vulgar. The glassware should be trimmed with gold. The little sugar boxes, gold and white, filled with chocolate. No candlesticks. Freesia instead of daisies. Waiter : Wise choice, madam. Betty’s mother : No baby's breath. Betty’s mother : You already had your fitting? Betty : We're on our way. Here's the seating chart and Spencer's list of groomsmen. Oh, I almost forgot. I spoke to him about reading the poem. He'd rather not. I said all right. Betty’s mother : Excuse us for a second, Joan. Betty’s mother : A good wife lets her husband think that everything's his idea even when it's not. I don't care if he reads it. You will in

retrospect. Now, why don't you see if you Can’t nudge the idea into his head.

Amanda : I have been here now for twenty one years, Jocelyn. President Carr : I remember you as a student. Amanda : Twenty-four, if you count that. So why the theatrics? President Carr : We cannot appear to promote sexual promiscuity. Amanda : Okay. It's about appearances, then? No. All right, all right. All right. Well, I promise not to appear to be sympathetic, progressive or what did Mrs. Warren call it? "Liberal." Scout's honor. President Carr : I spent the better part of Friday afternoon convincing the alumnae that your record was impeccable that you would no longer provide contraceptive devices and you'd make a public statement to that effect. Amanda : I'm not willing to make a public statement. President Carr : It doesn't matter, Amanda. They're letting you go. It's out of my hands.

Nancy : And this champagne cup is in the wrong place. And up and down. And up and Katherine. Good evening, Miss Watson. The students : Good evening, Miss Watson. Nancy : Join us. Katherine : No. Nancy : Good night, Miss Watson. The students : Good night, Miss Watson. Nancy : And down. Very nice. Very nice.

Professor Dunbar : Hey. Heard about Amanda. I'm sorry. Katherine : She seemed all right about it. I wouldn't be. They don't give you too many chances around here. Professor Dunbar ; Oh, that depends how much they hate you to begin with. Can I buy you a drink? Or are you here for dinner? Katherine : How long do the marriage lectures take? Professor Dunbar : Get this woman a booth.

Nancy : Your husband is at a crossroads in his career. He's competing for promotion against two rivals, Smith and Jones. To get the edge, you have wisely decided to invite the boss and his wife to a dinner. You've carefully planned your meal set your table and arranged for a babysitter. Giselle : Oh, we have babies! Connie : Yes, and I have twins!

Nancy : Then, surprise. It's and your husband's called to say that Smith, Jones and their wives have been invited at the boss's request. Ever the Wellesley girl you keep your cool and understand that the boss is probably testing you as much as your husband. What next? Yes? Giselle : File for divorce? Nancy : That's very funny. But the thing is, it's not a joke. A few years from now your sole responsibility will be taking care of your husband and children. You may all be here for an easy A but the grade that matters the most is the one he gives you, not me. Giselle : You'll need to Whatever you do don't put the boss's wife next to your husband. Betty : Why not? Giselle : She's screwing him.

Katherine : Is that where you learned to speak Italian? In Italy? Professor Dunbar : Yeah. Have you got a boyfriend? Katherine : Yes. Professor Dunbar : You know, if you were mine, I'd never let you go. Katherine : I wouldn't have asked your permission. Professor Dunbar : Yeah, they say you're progressive. A forward thinker. Are you? Katherine : There are a lot of labels here l have noticed. Right family, right school, right art, right way of thinking. Professor Dunbar : Well, saves the effort on thinking for yourself. Katherine : How do you expect to ever make a difference if everything is a joke? Professor Dunbar : Oh, Katherine Watson comes to Wellesley to set us all free? Come on. Katherine : Thank you for the drink. Professor Dunbar : No, no. Wait. I was teasing. They have their own way of doing things here. You've just gotta find a way to work with them. We all had to.

Katherine : I'm sorry. Amanda : Five years ago, they'd have slapped my wrist. But now there's a committee for the protection of everything. Katherine : They think you're dangerous? Amanda : Oh, no, darling. No. Subversive. It's gotten to the point where you don't know who is protecting whom from what. Or should that be "from whom"? Well, whom gives a damn anyway? They're doing me a favor really. Katherine : Will you be all right?

Amanda : Better than that. I should really have left when Josephine died. Nothing left to love here anymore. So Joan : Hello? Miss Watson? Katherine : Yes. I'm back here. Joan : I've never been to this part of campus before. Where are we? Katherine : No man's land. So to speak. Come on in. Joan : What's all this? Katherine : Different things different days. People who inspire me, artists I admire, editorials I don't. So you came to see me. Joan : You gave me a C. Katherine : I'm kind. Joan : The assignment was to write about Bruegel. That was I did that. Katherine : No, what you did was copy Strauss. Joan : I was referencing an expert. Katherine : If I wanted to know what he thought, I'd buy his book. Joan : Miss Watson, with all due respect... Katherine : Bruegel was a storyteller. Find the stories. Break them down into smaller pieces. You might actually enjoy it. Joan : You're giving me another chance? Katherine : So it seems. Joan : Is that my file? Katherine : What's it say? Well, let's see. Straight A's. Joan : Until now. Katherine : President of the poetry society, captain of the debate team, co- captain of the tennis club, founder of the horticulture league. Joan : I sound like a pompous ass. Katherine : Yes, you do, but a very busy one. And it says here that you're pre-law. What law school are you gonna go to? Joan : I hadn't thought about that. After I graduate, I'm getting married. Katherine : And then? Joan : And then I'll be married. Katherine : You can do both. Just for fun, if you could go to any law school, which would it be? Joan : Yale. Katherine : Yale Joan : They keep five slots open for women, one unofficially for a Wellesley girl. Katherine : But you haven't really thought about it.

Betty : Wake up, Joanie, wake up. Wake up. Okay, don't get up. Don't hear what I have to say about Tommy and Spencer looking at an engagement ring for you. Joan : You're sure?

Betty : That's everything we always wanted, huh? We'll be best friends, and our husbands will be best friends and we'll have houses together and we'll have babies together and they'll be best friends. You're going to be Mrs. Tommy Donegal. Joan : When? Betty : I'll get the scoop tomorrow. You go back to sleep.

Katherine : The first part of the exam will consist of two pairs of slides. Please identify each of the slides by name, period and date. Then compare and contrast them. You will have minutes for each pair. Then you will write a word essay describing the stylistic differences between Raphael and van Eyck. Eyes forward, Miss Delacorte. You have forty minutes. Good luck. The man : Excuse me. Governor. Another shot, please. The man : This way, please. Thank you. Professor Dunbar : Excuse me. Katherine : This is quite the event. I'm surprised I was invited. Professor Dunbar : Well, look around you. Katherine : Who wasn't? Professor Dunbar : You ever hear the expression "Keeping up with the Joneses"? Katherine : Of course. Professor Dunbar : Mr. And Mrs. Gordon Jones. The actual, historical family they invented the phrase about. Katherine : Good to know. Joan : That's him!

Spencer : Thank you. The man : Good to see you. Betty : Thank you very much. The woman : A beautiful dress. Spencer : Hi, we're so glad you came.

Nancy : We're together. Table nineteen. Good. Holy God! The governor is right behind you. Don't turn around. Violet : Great band. Professor Dunbar : Violet. Violet : Yes? Professor Dunbar : Would you mind if I go here? Violet : Not at all. Professor Dunbar : Over here. Thank you. Violet : Great band. Professor Dunbar : Great band. Hi, Katherine. The student : Hi, Professor Dunbar.

Nancy : I'm getting a Manhattan. Like anything? Katherine : No, thank you. Professor Dunbar : I'll take a Jack and ginger.

Giselle : He's making his move. I knew he'd go for her. Connie : She's too old for him. Giselle : She's too smart for him. Hold that

Professor Dunbar : They're playing our song. Katherine : What? Professor Dunbar : They're playing our song. Katherine : I heard you. Giselle : Hi. Katherine : Hi, Giselle. Giselle : Ladies' choice? Professor Dunbar : Sure. Excuse me.

Photographer : Ladies, gentlemen! Quiet! Spencer : What's this about the poem you wanted me to read? Betty : It was your idea, remember? Spencer : I never said that. Photographer : Ready? Excellent. Betty : Well, I wrote this down, just in case you forgot. It's my favorite. Photographer : Smile. Spencer : Now, Betty, I tried to think of a million ways to tell you how I feel. But instead I refer to your favorite poem.

Connie : Good catch. Joan : You said it. Giselle : He's a morsel. Joan : Miss Watson! Connie : He's a favor. Remember?

Joan : Come on. Miss Watson, I want you to meet Tommy. Tommy, come here for a second. Tommy : You are so beautiful. Joan : This is Katherine Watson. Tommy : Oh, wow! In the flesh. She has not shut up about you. Joan : Oh, stop. Tommy : You know what I'm saying? I do. You did something to impress her. Katherine : Well, it seems you did too.

Nancy : You make these especially well. Waiter : Thank you. Nancy : I had a fell a Lenny. You remind me of him so much. He had this funny little thing where his two front teeth they overlapped. He is dead. South Pacific. Charlie : My parents say my future is right on the horizon. Connie : Tell them the horizon is an imaginary line that recedes as you approach it. Katherine : I think I'll go back to my seat. Connie : I had a really nice time. Thank you. Charlie : Connie. Is this the brushoff? Connie : No. I thought you were, you know done with me. Charlie : Why would you think that? Connie : Betty said that you. I don't wanna take advantage. I know that this was some favor. Charlie : She did me the favor, not you. Come on, dance with me.

Giselle : She's too good for you. Professor Dunbar : Maybe you're right. Giselle : I'm too good for you too. But I have lower expectations. Professor Dunbar : I thought we settled this last spring. Giselle : So then we probably shouldn't have slept together over the summer. Professor Dunbar : Stop.

Katherine : You ready? Nancy : Do you wanna know something funny? Lenny's not dead. Not technically. He...He's got married. He's got a wife and kids and a mortgage. It was all supposed to be mine, except for the wife. And you. You don't look a thing like him. You ugly bartender. Katherine : Stop it. Nancy : You couldn't shine his shoes. Katherine : I'm sorry. Nancy : It wasn't supposed to turn out like this. Katherine : I know it. Nancy : It wasn't supposed to turn out like this.

The student : Which way? Katherine : Let me just see here. I'm not sure. The student : Where are we supposed to go? Katherine : I think it's here. Come this way. We're almost there. Joe. Hello. Joe : Hi. How are you?

Katherine : Great. Thank you so much for this. You're a pal. Joe : It's a pleasure. Your timing is perfect. There it is. Giselle : That's Jackson Pollock. Joan : In a word. Connie : I was getting used to the idea of dead, maggoty meat being art, now this. The student : Please don't tell me we have to write a paper about it. Katherine : Do me a favor. Do yourselves a favor. Stop talking and look. You're not required to write a paper. You're not even required to like it. You are required to consider it. That's your only assignment today. When you're done, you may leave. Connie : Thank God Betty isn't here.

Connie : Where did you come from? Charlie : Mars. Connie : What a coincidence. Charlie : Tom Donegal came by to see Joan. So I hopped a ride. Connie : Why? Charlie : So I could do this.

President Carr : Katherine. Katherine : Yes President Carr : Have you got a minute? Katherine : Of course. President Carr : Walk with me. You going home for the holidays? No. Too far? Katherine : Too expensive. President Carr : But I've never had a New England Christmas, so Our weather hasn't scared you away? Katherine : I love it here. President Carr : Do you? I've been getting some calls about your teaching methods, Katherine. They're a little unorthodox for Wellesley. We are traditionalists, Katherine. Katherine : Yes, I noticed. President Carr : So if you'd like to stay here Katherine : Is that a question? President Carr : More a discussion. Katherine : About my staying here? President Carr : You'll have your formal review in May. Until then a little less modern art. Happy holidays. Katherine : And to you. Woman : Afternoon. Katherine : Oh, hi... The student : I hope you get that ring! Bye, girls, see you next year. Have a safe trip.

Tommy : So, what's the big hush-hush secret? Are we gonna hear the pitter-patter of little Spencers? Joan : Tommy Stop. They'll tell us when they're ready. Are you ready? Is she the cutest? You are the cutest. Come here, you. Betty : Spencer's been made junior partner. It is about time. And it's a significant raise too! Spencer : Betty! Betty : What? Betty : I can say that, can't I? To Tommy and Joan? Well, it is. So maybe a family isn't far behind. Let's take our coffee in the sitting room, shall we? Joan : I'll help. Betty : Keep them closed. Joan : All right. Beautiful! You've got everything you've ever dreamed of. Betty : You will too. Joan : I've got a secret to tell you. You swear you won't gab to anyone? I got accepted early to Yale Law School. Betty : To what?! Why?! You don't want to be a lawyer. Joan : Maybe I do. Betty : You won't switch cold creams without asking me, but you applied to school? Joan : On a lark. We never thought I'd get in. Betty ; Who's "we"? Joan : Miss Watson. She practically filled out my application for me. Betty : You've got to be kidding me! What right does she have? You're getting married! Joan : First of all, there's no ring on this finger. Second, I can do both. I can. Betty : How does Tommy feel about this? Joan : He doesn't know. No one does. Betty : Not even her? Joan : No one. Tommy : Joanie! Betty! Betty : You are this close to getting everything you ever wanted. And this close to losing it. Spencer : I just got a call. They need me in New York tomorrow. Betty : Joan and Tommy are here. Can't you leave in the morning? Spencer : Then I'd miss the meeting. Sorry, guys. We take a rain check? Tommy : Sure, buddy. Spencer : We'll see you in the new year. Happy and merry. I'll call you in the morning. Betty : Coffee?

Nancy : Guess who has an early Christmas present? Oh, my! How can you live like this? Katherine : Like what? Nancy : We'll just wait for you to tidy up a bit. Paul : In this lifetime? Katherine : It’ll never happen. Paul : Come here, beautiful. Katherine : What are you doing here? Paul : You still like it here? Katherine : I do. I like getting to know the girls. Most of the time. And the weather. Paul : Yeah, the weather's nice. Katherine : Are you freezing? Paul : Yeah. Katherine : Your lips are a little blue. Paul : I like them that way. Katherine : Why didn't you bring a coat?

Giselle : Bill. Professor Dunbar : Giselle, what are you doing here? Giselle : Freezing. Professor Dunbar : Look, it's over. I can't see you anymore. I can't. Giselle : I know. Professor Dunbar : Really. Giselle : I just want to talk to you for a minute. Giselle : Come on.

Paul : Oh, I missed you. You're beautiful. Life without you just isn't life. And I don't want to go through lifenot living. Do you? Katherine : No. Paul : I love you so much I would move to this elitist icebox if you want me to. Make an honest man out of me. Giselle : Miss Watson? Hi. I didn't know you were here. Katherine : hi Giselle Levy, Bill Dunbar, this is this is my Paul Paul : Fiancé As of about a minute and a half ago. Paul Moore. Giselle : God. Congratulations! Professor Dunbar : Your fiancé? Giselle : You must be thrilled. Professor Dunbar : I don't think she's caught her breath yet. Katherine : I haven't. Paul : Well, sit down. We'll have a toast.

Professor Dunbar : We'd love to. We're in a hurry. But that's really great. Congratulations, old man. Giselle : Congratulations. Merry Christmas. Professor Dunbar : Come on, let's... Giselle : Best of tidings to you both. Bye. Katherine : No, Paul. Nancy'll have a heart attack. She has these rules. Paul : Come on. Katherine : No. Paul : Why? Katherine : I said no. I'm not comfortable. I'll make up the convertible sofa. Paul : What are you doing? You're not kidding? I just came miles to see you. I'm sleeping down here by myself? Stop. Stop. Stop for a second. Tell me what the hell's going on. Katherine : I don't know. I feel like everything is getting away from me. We haven't actually, literally looked at each other for three months and now you're here, and I have this ring on my finger. Paul : Which makes you uncomfortable too? The last time I checked, we weren't on this track. Paul : When was the last time you checked? Katherine : Will... Paul : My name is Paul. Katherine : I'm not saying no to you. Paul : No, you're not saying anything. You never really do.

Nancy : If you need me for anything else, my number's on the refrigerator. I feel so guilty leaving you alone after... Katherine : I'm fine. I have lots of research to do. Nancy : That's right. Throw yourself into work. I'll be back on the end. See you next year 1954

Joan : Sunflowers. Vincent van Gogh 1888. Katherine : He painted what he felt, not what he saw. People didn't understand. To them, it seemed childlike and crude. It took years for them to recognize his actual technique to see the way his brush strokes seemed to make the night sky move. Yet, he never sold a painting in his lifetime. This is his self-portrait. There's no camouflage, no romance. Honesty. Now, years later, where is he? Giselle : Famous? Katherine : So famous, in fact, that everybody has a reproduction. There are post cards. We have the calendar. With the ability to reproduce art, it is available to the masses. No one needs to own a van Gogh original.

Susan : We do. In the Newport house. But it's small. Tiny, Katherine : They can paint their own. Van Gogh in a box, ladies. The newest form of mass-distributed art: Paint by numbers. Connie : "Now everyone can be van Gogh. It's so easy. Just follow the simple instructions and in minutes, you're on your way to being an artist. Giselle : "Van Gogh by numbers Katherine : Ironic, isn't it? Look at what we have done to the man who refused to conform his ideals to popular taste. Who refused to compromise his integrity. We have put him in a tiny box and asked you to copy him. So the choice is yours, ladies. You can conform to what other people expect or you can... Betty : I know. Be ourselves. Connie : You're a sight for sore eyes. Betty : I would've been on time but, silly me, I thought class was in the classroom. Katherine : Glad you could join us, Mrs. Jones. We thought we'd lost you. Connie : There's an unwritten rule for marry... Betty : Don't bother. Katherine : Since your wedding, you've missed six classes, a paper and your midterm. Betty : Well, thank God I didn't miss the paint-by-numbers lecture. I was on my honeymoon and then I had to set up house. What does she expect? Katherine : Attendance. Connie : Most of the faculty turns their heads when the married students miss a class or two. Katherine : Then why not get married as freshmen? That way you could graduate without actually ever stepping foot on campus. Betty : Don't disregard our traditions just because you're subversive. Katherine : Don't disrespect this class just because you're married. Betty : Don't disrespect me just because you're not. Katherine : Come to class, do the works or I'll fail you. Betty : If you fail me, there will be consequences. Katherine : Are you threatening me? Betty : I'm educating you. Katherine : That's my job.

Joan : Miss Watson! Miss Watson! Katherine : What's this? Joan : Every year, the ARBs nominate a member of the faculty to be our guest. Katherine : The what?

Joan : You'll see. Come by tonight at five o’clock: . Joan : Adam's Ribs. A very secret society. Wait here. Connie : First, the oath. Please raise both hands. Do you swear not to repeat what you see, hear or smell tonight? Katherine : Smell? Connie : Keep your hands up! Yes, smell. Katherine : I do. Giselle : It'll only burn for a second. Joan : Go on. Giselle : And now that you've taken the oath, we get to ask you whatever we want. Katherine : Oh, is that how it works? Joan : And you have to answer. Betty : Who invited her? Susan : You're in time for truth or consequences. Joan : I go first. Why aren't you married? Katherine : Well that’s poisonous. I'm not married because I’m not. I was engaged to Patrick Watts. Everybody called him Leo, and I never knew why. He was the first person that I ever danced with or smoked with, got incredibly drunk with and. Well, a lot of first things. We were eighteen and getting married 1941, Christmas of. Then Pearl Harbor happened and everything changed. Everybody changed. And by June, he was sent overseas. Joan : Did he come back? Katherine : Yes. Susan : Was he changed? Giselle : They both were. I'm sorry. Katherine : Your parents? Giselle : Yeah. After the war they didn't know each other anymore, didn't like each other. He left. He got a whole new family. Susan : Divorce. Giselle : What? Yeah. First on my block. That's a city block. Katherine : People change. Things happen. It's the same with me and Leo. He went off and married someone else. And I got to go to graduate school. Connie : UCLA, right? Which is in Hollywood? Katherine : It's close. Giselle : Anyway, aren't you goanna tell everybody about, you know your big news? Joan : What are you talking about? Giselle : She got engaged over Christmas! The students : Congratulations! Giselle : I'm sorry to blab. It's just so romantic.

Joan : How fantastic! Katherine : We split up. Joan : What? Katherine : We split up. Well, that was fast. Well, not every relationship is meant for marriage. Betty : Some are strictly affairs? Bill Dunbar. He'd be an affair. Let's talk about that, Miss Watson. You don't believe in withholding, do you? Katherine : No. I do, however, believe in manners. But for you, I'll make an exception. That's what we're supposed to do for married students. Right, Betty? Professor Dunbar and I are not having an affair. Connie : Did you have one with William Holden? Joan : She asked about Bill Dunbar. Katherine : How did you hear that? Connie : Oh, it is true! Betty, I told you. Susan : Won't you regret never marrying? Joan : There's still time. Katherine : I guess I assume that I will at some point. I'm not gonna plan my life around it. Betty : Neither should we. Katherine : I didn't say that. Betty : You did to Joan. That's what she told me. Joan : What are you saying? Betty : She knew you and Tommy were getting engaged. And she practically filled out your application. Joan : I didn't say that. Betty : She's been accepted. Now she just has to figure out a way to tell Tommy. Katherine : Why don't you do it? You're good at butting into people's business. Betty : Funny, that's what they say about you.

Betty : Spencer, do I look all right? Spencer : Yeah, fine. I don't have a lot of time. Speed it up. Mr. Grouchy. Louise : All right, here we go again. Betty : All right, go ahead, Louise.

Betty : Married Wellesley girls have become quite adept at balancing obligations. One hears such comments as: "I baste the chicken with one hand and outline the paper with the other.” While our mothers were called to work for Lady Liberty. It is our duty, nay; obligation to reclaim our place in the home bearing the children that will carry our traditions into the future. One must

pause to consider why Miss Katherine Watson instructor in the Art History department has decided to declare war on the holy sacrament of marriage. Her subversive and political teachings encourage our Wellesley girls to reject the roles they were born to fill.

Katherine : Thank you. Slide. Contemporary art. Connie : That's just an advertisement. Katherine : Quiet! Today you just listen. What will the future scholars see when they study us? A portrait of women today? There you are, ladies. The perfect likeness of a Wellesley graduate. Magna cum laude, doing exactly what she was trained to do Slide. A Rhodes scholar. I wonder if she recites Chaucer while she presses her husband's shirts. Slide. Now, you physics majors can calculate the mass and volume of every meat loaf you make. Slide. A girdle to set you free. What does that mean? What does that mean? What does it mean? I give up. You win. The smartest women in the country. I didn't realize that by demanding excellence I would be challenging what did it say? What did it say? "The roles you were born to fill." Is that right? The roles you were born to fill? It's my mistake. Class dismissed.

Katherine : These girls Are you proud, President Carr? President Carr : Yes, actually, I am. Katherine : Well, you should be, I guess. Half of them are married. The other half, give it a month or so. It's really only a matter of time. They're biding time until somebody proposes! President Carr : A hundred years ago, it was inconceivable for a woman to be a college graduate. Perhaps you should look back to see how far we've come. Katherine : I'm sorry, from where I sit, it's just a different kind of corset. President Carr : Well, we can all use a little support. Katherine : Oh, like Amanda Armstrong? President Carr : She broke the law! Katherine : According to Betty Warren. President Carr : According to the state of Massachusetts. Katherine : To hell with Wellesley. I'm done. Goddamn it! It's brilliant, really. A perfect ruse. A finishing school disguised as a college. They got me. Professor Dunbar : What do you expect? Katherine : More. More. I thought it was a place for tomorrow's leaders, not their wives. Professor Dunbar : Calm down, please.

Katherine : No, I will not! Professor Dunbar : I've got more minutes. Meet me in my office. Meet me! Professor Dunbar : How you feeling? Katherine : Stupid. Deceived. Really, really angry. Professor Dunbar : Change takes time, you know? You gotta let them catch up with you. Katherine, this place needs you. I don't know how the hell they let you in, but I'm sure glad they did. Katherine : The things I said to President Carr. She'll never let me back in. Professor Dunbar : She's a pretty good egg. Professor Dunbar : What things? Don't worry. Time will heal it. Unless, of course, you want to go back to California and that fiancée ?of yours. Katherine : We're not engaged. Thanks. Sorry I interrupted your class.

Professor Dunbar : Katherine! I wanted to give you this. It was for Christmas, and Then I met your man, so I. The Sistine Chapel, David, Venus de Milo, and Mona Lisa. Katherine : Thank you. Katherine : This is gonna be a three-in-one shot. Ready? You didn't even try. This game is probably a no-no in the Better Homes and Gardens.Not that I have ever been in the better homes and gardens. Have you? Professor Dunbar : No. No, I'm just an old soldier. They don't invite us. Katherine : What do they say about them though? Professor Dunbar : Old soldiers never die. We just... Katherine : They just become philandering Italian professors. That was below the belt. That was unkind. Professor Dunbar : Deeply unkind. Professor Dunbar : You know, I don't know how I feel about being a rebound. Katherine : I'll leave. Professor Dunbar : No, you don't have to do that. I'll get used to it. What are you doing? Katherine : Getting dressed. I had fun, and I'm not looking for anything serious. Professor Dunbar : Why don't you come down here and we can discuss it. Katherine : But as long as we're doing whatever it is that we're doing.. Professor Dunbar : Which we did pretty well, don't you think? Katherine : No students. I'm serious. I don't want to teach a class wondering why a girl is wearing my perfume. Professor Dunbar : Katherine, l... Katherine : I need your word.

Professor Dunbar : All right, you have my word. Okay. Now can we change the subject? Talk about something a little more interesting? Like breakfast. You know, I make a mean blueberry pancake. Katherine : I just put that shoe on. I don't think I know you well enough for breakfast. Professor Dunbar : I don't know about that. Katherine : So how does a guy get to know you better? Well, let me... Professor Dunbar : That's a good idea. Katherine : Is that a battle wound you have? I'm a sucker for war stories in Romance languages. Professor Dunbar : Well, that's pretty easy. Yeah?

Professor Dunbar : I was in a village... called San Remo...the Krauts pounded us hard me & Stan you remember Stan? We were the only two left from our platoon. We heard a distant cry coming from an abandoned shed. When night fell... The students : A trap it was? Professor Dunbar : Remember invert your nouns and your verbs.

Charlie : Hungry? Connie : Famished. Don't say we can live on love. That's how I missed breakfast. What's the matter? What's the matter? Charlie : Phillip and Vanessa McIntyre. Parents of a friend. Connie : You wanna say a quick hello? Charlie : No! No, I'll be trapped. Damn it! Connie : Could you seat us in the bar? Waiter : We're only serving in the front part of the restaurant this afternoon. Connie : Miss! Miss Stone. This has been the most romantic weekend I may ever have. Ever and all that's standing between right now and perfection are the McIntyre over there. Now, with the competition out there, a girl's got to be able to move a few mountains every once in a while. I could use all the help I could get. Miss Stone : Come this way. Connie : I fixed it. No more Mclntyres. Charlie : Thank you. Thank you. Let's not talk about this. Connie : All right.

Teacher : Hold your breath and turn. Don't forget to smile. Arms up. Move together. Faster, Fran! When you surface, smile. The girl : Come on, Connie! Betty : How about we have a girls' luncheon this weekend?

Susan : Just us. Giselle : Where's Spencer? Betty : Away. Joan : I'm free. Giselle : I'm busy. Joan : What are you doing? Connie : She's dating a psychoanalyst. Joan : Oh, really? Susan : Who's married? Giselle! Sorry, it slipped. Betty : Are you in, Connie? Connie : I'll check with Charlie. Betty : Who? Giselle : Charlie Stewart. Your cousin. Betty : You're kidding? Connie : We spent last weekend at the Cape. A little hideaway he knew about. Betty : Operative word, "hide." Men take women to the Cape in the winter when they're embarrassed. He's using you. Giselle : He's not using you if you want to go. Come here. Don't listen to her. Betty : I love you, and I swear I'm not saying this to hurt you. Charlie's promised to Deb McIntyre. She wears his pin. Giselle, you know it's true. Giselle : I don't know anything about a pin. Connie : McIntyre? Are her parents named Phillip and Vanessa? Betty : You know them? Connie : Only from a distance.

Katherine : Good morning. Professor Dunbar : Good morning. Katherine : Goodbye. Professor Dunbar : Good morning. Katherine : Okay, wait. No, we have an audience. Don't look. Professor Dunbar : No, I don't... Katherine : No. Stop it. Put me down. Put me down. You're not coming in this house. You are not coming in this house. No. Bye. Good morning. Professor Dunbar : Good morning. Katherine : Go away. Go away. Nancy : How can you date a man like that? Katherine : What if you're wrong about him? Nancy : What if I'm not? Katherine : Coffee's cold.

Teacher : Row! Ride the plank! Row! Professor Dunbar : Are your ears burning? Katherine : I think the feet go first when they set the stake on fire. Professor Dunbar : "What do you say, Edward? Should we have her back? "She's got rather nice legs." Katherine : Who's to say I wanna come back? Professor Dunbar : What leave me here with all these girls?

Connie : You'd think someone would notice empty trays. Nancy : You are good. You remind me of myself when I was your age. Giselle : Cheers. Connie : He's positively vomititious, Giselle. Giselle : Don't be so sentimental, Connie. It was a fling. It's fine. It was nothing. Miranda : Hi! Pleasure to meet you. Charlie : Would you excuse me? I'll be right back. Charlie : Connie! Connie! Excuse me. Sorry. Connie! Charlie. Connie : It's been a while. Charlie : Yeah. How are you? Connie : I'm fine, thank you. You? Deb? Charlie : Pardon? Connie : Deb. Your girlfriend. With the very large. With the very large teeth. With the very large teeth. Oh, did you think I didn't know? Charlie : Connie. Deb and I broke it off last summer. That's Miranda. We started seeing each other when you stopped returning my calls or answering any of my letters. Charlie : Okay, maybe I should go. Betty : Have you seen Spencer? Connie : But I did see Charlie Stewart. And he told me that he and Deb broke up last summer. And you told me they were together when he invited me to the Cape. Betty : Oh, Connie. I don't keep track of his dates. They've been on- again, off-again for the past few years. Connie : No no no, apparently they've been off-again for a while. For quite a while. Betty : So? Connie : So you made me believe that he was hiding me. Either way why couldn't you let me be happy? Betty. Singer : And we switch. Tommy : Wonder teacher. Katherine : Tommy. How's Harvard?

Tommy : Oh, not too bad. Not too bad. Congratulate me. Katherine : You set a date? Tommy : No, nothing official Yet. I meant, I got into Penn. Grad school. Katherine : Congratulations. What about Yale? Tommy : Yale? Oh, you mean Joanie. Yeah. How about that, huh? She is some girl. Katherine : She's terrific. Tommy : Yeah. Just the fact that she got in. I mean, she will always have that. Thanks to you. Miss Watson, you've been real swell to her. We both appreciate it. Katherine : I'm sorry. "The fact that she got in," what does that mean? Tommy : Well, she'll be in Philadelphia with me. Well, that's an awful long commute to get dinner on the table by five o’clock. Singer : And we switch. Tommy : Thank you. Betty : Excuse me. Excuse me. Have you seen Spencer? I can't find him anywhere. Tommy : Actually, Spencer asked me to take you home. He has this meeting... Betty : In New York. Thank you.

Betty’s mother : Honey, what are you doing here? Betty : I'm staying the night. Betty’s mother : Spencer won't mind?. Betty : Spencer won't notice. He is in New York again. Working. Betty’s mother : He is working hard for both of you. Betty : Do not lie for him, Mother. He does it so well for himself. Betty’s mother : You're going to turn around, go home fix your face and wait for your husband. This is the bargain you made, Elizabeth. We all did. Betty : So you're not gonna let me stay in my own house? Betty’s mother : Spencer's house is your house now. Believe me, it's for your own good.

Joan : Miss Watson. Come in. Katherine : Seven law schools within minutes of Philadelphia. You can study and get dinner on the table by 5 o’clock . Joan : It's too late. Katherine : No. Some accept late admissions. I was upset at first. Joan, the guests. When Tommy told me that he got accepted to Penn, I thought "Her fate is sealed. How can she throw it all away?" I

realized you won't have to. You could bake your cake and eat it too. It’s wonderful Joan : We're married. We eloped over the weekend. Turned out he was petrified of a big ceremony so we did a sort of spur-of-the- moment thing very romantic. Look. Katherine : It's beautiful. Joan : It was my choice. Not to go. He would have supported it. Katherine : But you don't have to choose. Joan : No, I have to. I want a home, I want a family. It's not something I'll sacrifice. Katherine : No one's asking you to sacrifice that, Joan. I just want you to understand that you can do both. Joan : do you think I'll wake up one day and regret not being a lawyer? Katherine : Yes, I'm afraid that you will. Not as much as I'd regret not having a family. Not being there to raise them. I know exactly what I'm doing, and it doesn't make me any less smart. This must seem terrible to you. Katherine : I didn't say that. I……….. Joan : Sure you did. You always do. You stand in class and tell us to look beyond the image, but you don't. To you, a housewife is someone who sold her soul for a center hall colonial. She has no depth, no intellect, no interests. You're the one who said I could do anything I wanted. This is what I want. Katherine : Congratulations. Be happy.

The man7 : Sometimes I think you say these things to provoke me. Does your father know that you speak this way? Giselle : Does your wife know you're here? Connie : Where might I find Charlie Stewart? Teacher : Charlie Stewart? C 1744 But it's too late. You'll have to leave. Connie : All right. Teacher : You can't go up there! The students : What is going on here? There's no women allowed in the dorms! Charlie : Can you please not interrupt me? Connie! What are you doing here? Connie : Well, I saw...I saw Big Teeth with Kevin Tawil looking pretty cozy, and I thought that maybe Maybe you two weren't... Charlie : Dating? Connie : Yes. Thank you. The students : Hey, no girls in the dorm. Connie : I know I have made mistakes a ton. But I never make them twice. Joan : And?

Connie : And it was perfect. Romantic. We stayed up all night talking. Giselle : You're late. What happened to Sunday brunch? We stayed up all night too. Not talking. Connie : The psychoanalyst? Again Joan : Divine exhaustion. He's married. Giselle : He's not married like you and Tommy. Joan : What does that mean? Giselle : It means he and his wife don't speak the same language. Betty : Spelled S-E-X. Does he pay you? For sex? At the rate you're going, you could make a fortune. Joan : Betty. Betty : Everyone thinks so. Do you know what they say? They say you're a whore. Once they've all sampled you, they'll toss you aside like a used rag. Joan : Betty, stop now. Betty : The men you love don't want you. Your father doesn't want you. Giselle : I'm gonna meet you downstairs. Betty : Professor Dunbar. Connie : Betty, that's enough. Betty : Everybody knows that you hide outside his house. It must be torturous running after a man who doesn't care about you. who's in love with someone else, who hates you. He hates you! Giselle : Betty. Betty : And it hurts! No! Get off me! Quiet! Oh, God. He doesn't want me. Giselle : Okay. Betty : He doesn't sleep with me. He... Giselle : I know

Betty’s Mother : I say no. I mean, it's not fair to her. She's not happy. President Carr : Don't forget about her outburst. Oh, that's right. Dr. Staunton, will you tell the alumnae the figures you have? Dr. Staunton : Enrollment for her class next year is the highest the department's had. Ever. The woman : She'd have to promise to turn in her lesson plans. The woman : In advance. And they'll need to be approved. Betty’s Mother : She'll never agree to that.

Katherine : Bill, the brochures for Europe arrived. Surprise! Sir, I'm so sorry! Who are you? Stanley : I'm Stanley Sher a friend of Bill's. We were in the war together. Okay you must be Katherine.

Katherine : I am. Stanley : He told me you were a looker, but... Katherine : I'll wait for you downstairs, Stanley. Stanley : Okey-dokey. Katherine : So you and Bill were in the war together? Stanley : Yep. Now he's some fancy teacher and I'm in air conditioning. Forget the A-bomb. Freon. It's gonna change the good old U.S. Of A. Open the entire West to development. I'm based in El Paso. Katherine : Oh, thank you. Stanley : And cheers. Katherine : Well, you've come a long way from San Remo. Stanley : Yes, sir. That in California? Katherine : Italy. Where you two were stationed. Stanley : Italy? Well, somebody's been pulling your long leg.We were stationed at the Army Language Institute on Long Island. Closest we ever got to Italy was the baked ziti at Mama Leone's. I don't think Bill'sever been to Europe. I sure as hell haven't. Cheers.

Dunbar : Katherine! You okay? Katherine : I met Stan. Hell of a nice guy. Dunbar : Yeah. Katherine : What a talker. Dunbar : Yeah. We go back a long way. Katherine : All the way to Long Island. Secret's out. What an incredible lie. Dunbar : I spoke the language, I had the uniform, people just assumed things. I didn't correct them. I guess I should've done. Katherine : I guess you should've done. Dunbar : Katherine, look, I'm sorry, okay? I made a mistake. Just give me a chance to straighten things out, okay? Katherine : Why couldn't you just be honest? Dunbar : You don't make it easy. You're so perfect, you. It's impossible to be honest with you. Katherine : I for you, it is. Dunbar : Well, it's not just me, Katherine. Joan failed you too, right? Katherine : That's an awful thing to say. Dunbar : I know, but it's the truth. If you want honesty, I can be real honest. You didn't come to Wellesley to help people find their way. I think you came to help people find your way.

Betty’s mother : I'm not accustomed to hunting you down. Elizabeth, look at me, please. I've spoken with Mrs. Jones. There will be no divorce. There's always a period of adjustment. I've assured her that you will try for a year. Betty : Look at this, Mother. Betty’s mother : Spencer will try as well. According to her, he's really very upset. You should call him. Betty : She's smiling. Is she happy? Mother : The important thing is not to tell anyone. Betty : She looks happy. So, what does it matter? Betty’s mother : Don't wash your dirty laundry in public. Betty : Let me tell you something. Not everything is as it seems.

Professor Carr : Dear Miss Watson: It is with great pleasure that we invite you to return as an instructor. In the Art History department for the academic year. We do wish to make clear, however, that this invitation is absolutely conditional upon the following: Please, Nora, may we continue? Number one: You will teach only the syllabus as outlined by the department chair. Number two: All lesson plans must be submitted at the beginning of every term for approval and revision. Number three: You shall not provide counsel beyond your own subject.for any student at any time. And finally: That you will agree to maintain a strictly professional relationship with all members of the faculty.

Violet : Good evening, Katherine. Katherine : Hi, Violet. President Carr : Assuming you accept the conditions, we look forward to your continuing to be a part of our Wellesley tradition. Katherine : Nice party. I didn't realize. Nancy : It was a surprise. The television : William H. Taft. What does the letter H stand for? Nancy : Howard. Howard. The television : Yes! Howard. Nancy : Oh, it doesn't matter. The important thing is that you'll be back next year. Hopefully living here. Katherine : Well, I haven't really thought about that. They just told me today. Nancy : Well, there's still plenty of time. You should be celebrating. Katherine : You're right. You're right. Let's celebrate. Let's go upstairs and get gussied up and go out dancing.

Nancy : Silly, it's after Strike It Rich is on. Katherine : Life isn't about Strike It Rich. Nancy : It's a school night. Katherine : So what? Nancy : So I don't want to go. I'm happy here. It's back on. Do you feel good about music Oh, isn't he handsome? Watch with me. The television : "You talked me into it," says this oldie. What's the title of this one? Katherine : "You Made Me Love You. Nancy : "You Made Me Love..." "You Made Me Love You."

Joan : You get all that from looking at paint on a canvas and it's her facial expression. Her eye that makes you thinks that. I think that makes it interesting. Giselle : The context that it comes from affects the way we view it. I think it provokes us because it provoked the painter. And in turn, he's kind of sending that message to us. Whether or not it's a good painting cannot be subjective. The student : I feel like I'm missing something.

Connie : It was Joan's idea. Joan : How else will you remember us?

Violet : They've invited you back. Katherine : Do you think they made a mistake? Violet : I do.

Betty’s mother : Elizabeth, I don't see Spencer. Betty : Excuse me, Mother. Miss Watson, can you help me get in touch with your friend in Greenwich Village? Betty’s mother : What do you need in Greenwich Village? Betty : An apartment. I filed for a divorce this morning. And since we know I'm not welcome at your house. You remember Giselle Levy? What did you call her? "A New York kike." That's it. Well, we're going to be roommates. Giselle : Hi You ready? Betty : Yeah. Giselle : You okay? Katherine : Greenwich Village? Betty : Yeah. For a while. Then, who knows? Maybe law school. Yale, even. Well I wouldn't want to come up against you in any court anywhere. Maybe I can drop by next year? Keep you on your toes. You will be here? Miss Watson?

Dear Betty : I came to Wellesley because I wanted to make a difference. But to change for others...

Betty : Is to lie to yourself. My teacher, Katherine Watson, lived by her own definition and would not compromise that. Not even for Wellesley. I dedicate this, my last editorial to an extraordinary woman who lived by example and compelled us all to see the world through new eyes. By the time you read this, she'll be sailing to Europe where I know she'll find new walls to break down and new ideas to replace them with. The student : Hold it, everybody. Betty : I've heard her called a quitter for leaving an aimless wanderer. But not all who wander are aimless. Especially not those who seek truth beyond tradition, beyond definition beyond the image.

Driver : Get the hell out of the way! Betty : I'll never forget you. Giselle : Betty! Betty! Television : What about after this war, Lee? Well, this job belongs to some soldier. When he comes back he can have it.- Oh, that's swell.

Appendix 4 The Pictures of Film “Mona Lisa Smile”

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