Hunt for the Wilderpeople (2016) Activités culturelles UdeM / Flickr culturelles Activités 58 Photo by Gage by Skidmore Photo Taika Waititi Taika Waititi, best known for directing Thor Ragnarok has a tradition of using comedy and pathos to critique traditional masculinity in his films. Here, Kirsty Worrow takes us through all his films to date looking at the common themes of performative and dysfunctional masculinity. rior to Thor Ragnarok (2017), most movie fans were unaware of Taika Waititi – the Māori director and actor who helmed the third instalment of Marvel’s Thor franchise. Ragnarok bought Waititi’s distinctive comedic voice to an international audience and shone a light on his existing works; a filmography consisting of independently produced, low- budget happy/sad New Zealand films, most of which deal primarily with issues of masculinity. Eagle vs. Shark (2006), Boy (2010), What We do in the Shadows (2014, co-directed with Jemaine Clement) and Hunt for the Wilderpeople (2016) present males who ‘perform’ masculinity, often demonstrating a desire to conform to traditional expectations of men. Waititi constructs characters 59 Jemaine Clement and Loren Horsley in Eagle vs Shark (2007) Photo Stock / Alamy TCD/Prod.DB who display overt macho characteristics, and of the tragic loss of his older brother (played by then, using comedy and pathos, subverts their Waititi himself) – the star athlete who was his ‘masculine’ qualities, positioning the audience father’s favoured son. Jarrod’s behaviour then to see them as ridiculous and pathetic figures. is a reaction to his own grief and the futility of There are two critical concepts which are trying to live up to a lost ideal. Despite this, he useful in unpacking Waititi’s representations. doesn’t redeem himself; in a dark comic twist, Judith Butler argues that gender identities the bully is revealed to be wheelchair-bound, are performed, insofar as we learn through and even after a genuine apology, Jarrod (with socialisation what is expected of males and bandana and nunchucks), beats him up anyway. females. Butler suggests that this is problematic as it leads to limited ideas about gender. Paul Boy Kivel proposes that men reinforce the boundaries Waititi’s coming-of-age tale focuses on the of acceptable maleness by chastising those troubled relationship between an 11-year-old who do not conform to the expectations of called Boy and his absentee father. Boy’s focus on masculinity. Those who do not fit inside ‘the man masculinity is pronounced given the absence of box’ are often labelled ‘gay’, ‘female’ or ‘loser’, any significant female figures; the film begins as strengthening the idea of what men ‘should’ be. Boy’s grandmother departs leaving Boy in charge of his younger brother, Rocky, and an assortment Eagle Vs Shark of smaller cousins for a few days. Through Boy’s Waititi’s male characters are typically ‘losers’ chirpy narration, we learn that Rocky thinks he who lack self-awareness. Eagle vs. Shark’s has superpowers: a tragicomic delusion informed Jarrod, is an awkward games shop worker in by the death in childbirth of their mother. this indie rom-com. Protagonist Lily’s crush on Boy idolises his absent father, Alamein (played him is the first point of humour in the film as by Waititi) and explains that he’s away ‘doing some he is not conventionally attractive or in any pretty important stuff’. The viewer later learns that way ‘a catch’. Jarrod’s character is an amusing this is a fiction; Alamein is a convict, who returns riff on the romantic archetype of the brooding to his family home in pursuit of stashed loot, hero. He is aggressive, competitive, emotionally leading Boy to discover the distance between aloof, which he describes as being ‘intense’, the fantasy of his father and the disappointing but Jarrod, played by Flight of the Conchords’ reality. In characterising Alamein, Boy relies Jemaine Clement, is a parody of these tropes. heavily on macho archetypes like the ‘do-or-die’ His performative macho behaviour is informed soldier, the Japanese Shogun and the troubled, by media and culture; his dialogue draws on brooding superhero. In one scene, Alamein likens the clichés of American action heroes, seriously himself to The Incredible Hulk to legitimise his using the line: ‘Tell him that justice is waiting violent behaviour. Waititi is interested in men for him’. As their relationship progresses, Lily and boys who think they are ‘cool’ but aren’t. accompanies Jarrod back to his hometown for a Alamein is the epitome of this idea; his costume, confrontation with a former bully. Here, we learn car and tattoos are part of the iconography of 60 Waititi the outlaw; but comedy is created when he attempts to demonstrate his ‘cool’ masculinity constructs to others but fails, like when he tries to stage an characters ambush but ends up getting his foot stuck in a rope swing. Despite the humour, Boy is made who display affecting as it explores the emotional conflict overt macho between a child who desperately wants the love and approval of his father and a man who characteristics, struggles with his grief and responsibilities. and then using What We Do in the Shadows comedy and Waititi’s next film has a much less serious pathos, subverts tone. What We Do in the Shadows is a spoof vampire mockumentary, focusing on a group of their ‘masculine’ undead housemates. The characters are based qualities, on iconic vampires from popular cultural history, and the ensemble cast offers a variety of male positioning the representations. Waititi’s character, Viago, fits audience to the ‘dandy’ archetype, inspired by Anne Rice’s novels. He is coded as ‘feminine’ in that he is see them as emotionally sensitive and is concerned about ridiculous and domestic tasks (as seen in the first couple of scenes). Vladislav is aggressive and sexual, an pathetic figures. echo of Gary Oldman’s Vlad the Impaler from Bram Stoker’s Dracula but his masculinity is undermined when he’s revealed to be unable to cope emotionally with the growing success What We Do in the Shadows (2014) Activités culturelles UdeM / Flickr culturelles Activités 61 Taika Waititi shooting Hunt for the Wilderpeople Activités culturelles UdeM / Flickr culturelles Activités 62 Waititi presents macho characters, but often allows them to renegotiate their interpretation of masculinity, with a recognition of their own faults or their own emotional needs. These endings are as represented ‘right’ outcome for the characters. youthful exuberance. Bella’s partner Hec, is a grumpy old man – a fitting counterbalance to Ricky. Introduced carrying a dead hog and a shotgun, he relates that he’s a skilled hunter and a loner (in the tradition of many macho heroes of a previous girlfriend. Deacon is modelled on from cinema history). In going on an adventure the rebel teen vampires of 80s cult film The Lost through the bush with Ricky, Hector transforms Boys, conveyed by his costume, body language and opens up to a familial relationship with Ricky. and his reluctance to do his chores. Deacon’s Across these films, Waititi demonstrates a overt masculinity is humorously juxtaposed by thematic interest in masculinity. His frequent his ‘erotic dance’ performed for his housemates. references to popular culture suggest that Waititi The film also features a generic werewolf pack, understands how media texts reinforce societal offering commentary on violent mob behaviours ideas about maleness, as Judith Butler argued. (football hooliganism for example) and the Waititi presents macho characters, but often consequences of masculine loss of ‘control’. allows them to renegotiate their interpretation of masculinity, with a recognition of their own faults Hunt for the Wilderpeople or their own emotional needs. These endings are Comedic adventure Hunt for the Wilderpeople represented as ‘right’ outcome for the characters. (2016) also presents recognisable masculine The interesting thing to note is that this is not archetypes which Waititi proceeds to critique. limited to Waititi’s NZ films; his values inform Ricky Baker is a foster kid who has been poorly the representation of masculinity in his corner served by social services. In the opening, Ricky of the Marvel Cinematic Universe. Think about is described by the child welfare officer as a ‘real the scene in Ragnarok where Thor and Hulk talk bad egg’; however the montage illustrative shots in Hulk’s chamber; Waititi manages to stage an of his ‘crimes’ (loitering, disobedience, kicking emotional dialogue scene between two of the stuff, running away) immediately subvert the most macho superheroes whilst they are both seriousness of the claim. Society has treated sat on the same bed. Armed with knowledge Ricky according to his type – young, male, angry of Waititi’s interior meaning, that interaction and dysfunctional. His transgressive behaviour seems much more like Waititi than Marvel. is revealed early on to be a performance. When his foster “Aunty” Bella asks Ricky what he will Kirsty Worrow is Programme Leader for Media name the dog she has gifted him, his suggestions Studies, Film Studies and Music at Shrewsbury Sixth – Psycho, Megatron or Tupac – convey his need Form College. to find an appropriately macho name, as the beast will be emblematic of Ricky’s toughness. Ricky explains, in an attempt (like Waititi’s other lead males) to look cool, that Tupac is ‘a really cool rapper and he’s like my best friend’, instantly betraying his vulnerability and undercutting his efforts at portraying male self-reliance (enhanced by the fact that at this point Bella is tucking him in for the night). Ricky is quickly established as a character of great warmth and 63.