'The Birds' (1963) - Film Review

Figure 1 – The Birds (1963) [Poster]

This review analyses Alfred Hitchcock’s well-known drama mystery film The Birds (1963), explicitly focusing on the role of females within the story, and how this reflected society’s view of women in 1960s America. Referring to the work of Joanna Ahti’s article entitled ‘THE PORTRAYAL OF WOMEN:ALFRED HITCHCOCK FILMS VERSUS DISNEY FILMS’ (2017), Bidisha’s research into ‘What's wrong with Hitchcock's women’ (2010), Matthew Engs ‘THE INEVITABLE ENDANGERMENT OF WOMANHOOD IN HITCHCOCK’S THE BIRDS’ (2015), Joey Nolfi ‘s work ‘THE FEMININE MYS-BEAK; ANALYZING THE ROLE OF THE FEMALE IN “THE BIRDS” (2012), Taidgh Richards video essay  ‘"The Birds" - Alfred Hitchcock - Video Essay - Film Codes’ (2016), The Take by ScreenPrism’s video documentary ‘The Birds: Why Do the Birds Attack?’ (2018), and Ryan Thompsons analysis ‘The Birds (1963) Analysis (2017). This review aims to highlight the connection between the birds and the female roles within the film and how this links to ‘modern day’ women of 1960s America.

The Birds centres on Melanie Daniels, who travels from San Francisco where her father runs an expensive business, to a small town, Bodega bay, in pursuit of Mitch Benner, in order to pull a prank on him consisting of two love birds. There she meets the other women within Mitch’s life, Annie (his ex) and Lynda (his mother). Suddenly there becomes an outburst of bird attacks occurring after the arrival of Melanie, which seem to take place before or after crucial points of interest, revolving around the female of the film, in particular Melanie.  (Nolfi, J. (2012))

From the very beginning of the film it is clear that Melanie does not fit the typical conventions of women during 1960s America. Instead of being dependant on becoming a house wife, Melanie remains rather independent endeavouring in various promiscuous activities. (Thompson, R. (2017)) This is evident in the beginning scene where Melanie gets whistled at from one of the passing males. Instead of being offended, stereotyping a naive woman of the 60s, Melanie in turn “welcomes” the whistles. This brings in the concept that she is being confined by the male’s gaze, this is then contrasted to the next shot, which includes a large congregation of birds flying around freely. This then gives the audience a visual “Connection of female sexual objectification with the ominous gathering of the birds, associating an issue of feminine passivity”. (Nolfi, J. (2012))

Hitchcock’s use of this juxtaposition amplifies the idea of Melanie representing a bird, as she is a pretty object, something only to be looked at similar to a bird. (Nolfi, J. (2012)) Hitchcock in a way is “Running metafilmic commentary on the oppressively objectified roles of women within classic, gender-biased Hollywood studio moviemaking.” (Eng, M. (2015)), by objectifying women this way he highlights the problems with 1960s Hollywood and how they perceive women with in film.

“The film uses the trope of caged birds to subtly validate romance and love.”  (The Take by ScreenPrism. (2018)) When Melanie meets Mitch it takes place in a bird shopped in which their romance first started. This is where it is evident that Melanie “unknowingly incriminates her position as a “free” female within the context of the film, condemning her symbolic counterpart (the birds) to cages” (Nolfi, J. (2012)) During said scene, Melanie accidently frees one of the birds from a cage. Both Melanie and the female shop assistant are unable to catch the bird. However, Mitch is able to wrangle the bird back in while saying the phrase “back in your gilded cage, Melanie Daniels!”. (Nolfi, J. (2012)) Not only does this display the power dynamic between the two genders, but it also acts as an audio que to the audience that Melanie is representing the birds.

The concept of a man caging the birds (women) can also be seen as an implication that by tying yourself down to the constraints of marriage, you are then safe from the more destructive aspects of human nature. Bringing forward that idea of women in the 60s heavily relying on becoming a house wife rather than independent like Melanie at the beginning of the film.

However, it could be argued that although Melanie is independent, her independence still relies on the dependence of the males around her. For example, although she is independent on her quest to give Mitch the love birds as a prank, she is only aided by this due to male dependence from her father. “Relying on her father for money and favours, further “caging” her “(Nolfi, J. (2012)) By doing this it once again confines her independence as everything she does independently is driven by the idea of men, “(Melanie) She goes out of her way to get a gift, travel, and surprise him at his family’s home.  Melanie puts all this effort into this plan for someone she had only talked to once, for less than ten minutes.” (Ahti, J. (2017)).

This is viewed as a problem within the film, as from this chase for male validation, then causes drama between the women within the film, which then parallels with the bird attacks. “The film connects the chaos and destruction of the birds attack, to competing over men” (The Take by ScreenPrism. (2018)).

This can be seen within each of the important women within Mitch’s (the love interests) life.  Each woman exhibits a jealous eye within the film towards one another, becoming a clear factor that each female is much more observant then any of the other characters. This links back to the idea of the females symbolising the birds “Their gaze is predatory, prying, and judgmental; like a bird of prey sizing up its competition or meal.” (Nolfi, J. (2012)).

Melanie first meets Annie, who is an ex of Mitch’s. “(Annie) One a former object of his desire and one his future object (at this time, unbeknownst to us or to her). Regardless, Annie recognizes Melanie’s attractive qualities.”  (Nolfi, J. (2012)). This creates an unsaid, but heavily implied (through the gaze) conflict between them. It can be said, that this conflict between the two over the romantic love of the same man, is what caused the murder of Annie, as the women are being punished for their independent desires. It can also be said that Annie’s death is “Symbolising how women destroy each other for men” (The Take by ScreenPrism. (2018)) Indicating the importance of women’s needs in the 60s to have some sort of dependence on a male.

“The bird attacks are also tied to the conflict stemming from Mitch’s mother, Lydia, and her instinct to protect her nest.”  (The Take by ScreenPrism. (2018)) This is shown through the way Lydia treats Mitch’s love interest Melanie, as she too is dependant on him as she had lost her husband. This further illustrates how women are perceived as weak during this time and can hardly function without a man there to depend on.

Through the film, it is evident that Melanie experiences a loss of her independence. This is achieved by Hitchcock directing scene in a certain way.  “By routinely privileging points of view other than Melanie’s, Hitchcock provides a visual emphasis to his heroine’s loss of control” (Eng, M. (2015)).

This is mainly showcased in the boat scene where Melanie is finishing her prank.

Figure 2- Melanie on the boat (1963)

Figure 3- Mitch’s POV (1963)

Figure 4- Melanie’s POV [Screenshot] (2017)

In the scene Hitchcock uses Melanie’s perspective of Mitch on the shore, while also showing us close ups of Melanie. In doing this the audience is able to understand that both characters are fully aware of each others presence, and that Melanie knows she’s been spotted, yet still maintains to cheekily absorb in what she has achieved still looking towards Mitch. “Jane Campion once posited that “one of the great betrayals of the female is they want to see themselves through male eyes,”” (Eng, M. (2015)). Hitchcock then takes this idea, and turns the tables, as Melanie is then using her male gaze to objectify him objectifying her. In doing so Melanie has then performed a greater cinematic betrayal, by using the female gaze in a male-dominated medium, resulting in her receiving a punishment. Int his case having as bird later come down to attack her, for going after the male. (Eng, M. (2015)) “The birds represent a backlash against this modern woman from a society not ready to accept her.” (The Take by ScreenPrism. (2018)).

To conclude, Melanie represents the idea that the future thinking, independent woman is something to be looked down upon. Although Hitchcock’s highlights the problems of women’s objectification of the time, he then also utilises this through using that male gaze to drive a independent woman to confine to the norms of the society she is surrounded, by a means of physical and verbal abuse. “The Birds central theme of Melanie rebelling against the traditional role of women is punished”. (Thompson, R. (2017)), while also showcasing the relationship women can have towards each other when fuelled by this dependence of men.

Bibliography

Ahti, J. (2017). THE PORTRAYAL OF WOMEN: ALFRED HITCHCOCK FILMS VERSUS DISNEY FILMS. Available: https://www.athomewithjoanna.com/2017/02/13/hitchock-vs-disney-women/ Last accessed 31/01/2019.

Bidisha. (2010). What's wrong with Hitchcock's women. Available: https://www.theguardian.com/film/2010/oct/21/alfred-hitchcock-women-psycho-the-birds-bidisha  Last accessed 31/01/2019.

Eng, M. (2015). ​THE INEVITABLE ENDANGERMENT OF WOMANHOOD IN HITCHCOCK’S THE BIRDS. Available: https://www.tribecafilm.com/stories/the-inevitable-endangerment-of-womanhood-in-alfred-hitchcock-s-the-birds-tippi-hedren-horror-truffaut-documentary-jessica-tandy-truffaut-documentary-cinephile  Last accessed 31/01/2019.

Nolfi, J. (2012). THE FEMININE MYS-BEAK; ANALYZING THE ROLE OF THE FEMALE IN “THE BIRDS”. Available: http://servingcinema.com/2012/04/the-feminine-mys-beak-analyzing-the-role-of-the-female-in-the-birds/  Last accessed 31/01/2019.

Richards, T. (2016). "The Birds" - Alfred Hitchcock - Video Essay - Film Codes. Available: https://www.youtube.com/watch?v=hYFNNOFQCbA  Last accessed 31/01/2019.

The Take by ScreenPrism. (2018). The Birds: Why Do the Birds Attack? Available: https://www.youtube.com/watch?v=P8ydiuAH36s&t=17s  Last accessed 31/01/2019.

Thompson, R. (2017). The Birds (1963) Analysis. Available: http://www.celluloidcinema.com/post/the-birds  Last accessed 31/01/2019.

Harvard Illustration List

Figure 1 – The Birds (1963) [Poster] Hitchcock, A. (1963). The Birds (film). Available: https://en.wikipedia.org/wiki/The_Birds_(film)  Last accessed 31/01/2019.

Figure 2- Melanie on the boat (1963) Hitchcock, A. (1963). The Women in “The Birds”. Available: https://atoga09.wordpress.com/2014/04/25/the-women-in-the-birds/  Last accessed 02/02/2019.

Figure 3- Mitch’s POV (1963) RHP. (2012). Screenshots of The Birds. Available: https://dospymies.wordpress.com/category/the-birds/  Last accessed 02/02/2019.

Figure 4- Melanie’s POV [Screenshot] (2017) Indo Overseas Films. (2017). The Birds 1963 Full Movie in English | Alfred Hitchcock | Mystery-Crime-Thriller-Horror Film | IOF. Available: https://www.youtube.com/watch?v=aEh4MsXOhy4  Last accessed 02/02/2019.