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Unease and gender awareness elicited by feminist perspectives<br />

If notions <strong>of</strong> voyeurism appear to have shifted from the castration complex to the more<br />

dehumanizing concept <strong>of</strong> commodity possession, feminist perspectives also present a further<br />

step in the process <strong>of</strong> representing realistically a woman's need and desire for love. Given<br />

that the screenplay is credited both to Bertolucci and to Susan Binot, it would be interesting<br />

to know to what extent Binot's female perception might have been responsible for this<br />

portrait <strong>of</strong> a 'new woman' which emerges in the representation <strong>of</strong> Lucy. First, by depicting<br />

the pressure that begins to build around Lucy, the other characters focusing on her as the<br />

gossip spreads that she is a virgin, the film represents the impossibility - even for a society as<br />

sophisticated and evolved as our own - <strong>of</strong> accepting and respecting non-conformist<br />

behaviour, and implies how this attitude conceals a measure <strong>of</strong> antipathy towards people who<br />

show independence <strong>of</strong> mind. In the film, Lucy eventually overcomes the problem by<br />

pretending to lose her virginity with a young Englishman whom she happens to meet at<br />

Niccolo's party. The power <strong>of</strong> conformism is confirmed by an exchange between Alex and<br />

Diane. Referring to Lucy's presumed sexual encounter, he asks 'Did she choose a good one?'<br />

to which Diane replies, 'She just chose the first one' Through this contrivance and its<br />

repercussions, the film indicates how private situations can become intolerable and absurd<br />

when subjected to social pressure.<br />

But the script's originality centres on its portrayal <strong>of</strong> Lucy as a teenage protagonist<br />

who has digested the experiences <strong>of</strong> two previous generations: that <strong>of</strong> Diane as a mother<br />

figure, and that <strong>of</strong> Miranda, notionally an 'elder sister' in age terms. Lucy appears to have<br />

come to a resolution that goes beyond the classic dichotomy between the bride's submission<br />

to the patriarchal order, and the independent, career-oriented, postmodern woman. The film<br />

suggests that the nurturing, motherly role embodied by women is no longer applicable, as<br />

Diane admits that she is tired <strong>of</strong> taking care <strong>of</strong> people. On the other hand, the role fulfilled by<br />

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