Dollhouse: The Eradication of Female Subjectivity from American Popular Culture Movie Review - Wanna Play With Me?

Nicole Brending's Dollhouse takes a satirical look within the entertainment industry and the idiocy coming from the outside.

Nicole Brending, serving as both writer and director, voices Junie Spoons in Dollhouse. Junie is a celebrity with a die-hard fan following. Her sexually provocative music videos have gained an audience worldwide. The lyrics are outrageous, "I will let you lick my little lolly, but you have to go real slowly." One cannot deny the catchy beats, though. Junie had started coming on TV from a very young age, with her first public appearance being at a show called Tiny Idol. This early rush for fame is associated with her mother, a one-time pageant queen who had a guest spot on a soap opera. With her time in the industry, she had learned enough to teach Junie certain etiquettes: (a) Smile even if you don't mean it and (b) keep your legs crossed so no one thinks you are easy.

The video titled "Dollhouse" raises male hormones and puts Junie at the top position, earning her 7 Disco Balls, including Best New Artist and Best Female Vocalist. The fans are crazy about her. On the flip side, the suggestive material faces criticism. One woman blames Junie for turning her 12-year-old daughter into slut (she had three abortions). When asked about this negative influence, Junie casually explains "Dollhouse" to be about love and friendship. As for the lyrics, she describes, "Good things come to those who wait." This translation of carnality to conviviality puts an impression of intelligence. But as Record Label Executive Terry Mayweather points out, "Kids like these are professionals. You just had to give Junie a script." So, did that interpretation come from her, or was penned by someone else?

Dollhouse doesn't address this question. How can it when the subject itself is denied her voice? The movie chronicles the rise and fall of a (fictional) pop star who gradually disappeared behind the glitter of her own stardom. The perspective chosen is that of the people who were close to Junie - her mother, Terry, few colleagues, and a Junie Spoons Expert, Dan Snotgrass. Seriously, this guy has done a PhD on her. Initially, it looks farcical, but it is not far from reality where every individual lays out opinions on his/her idol, like a PhD. Scroll through the feeds online and notice comments starting as, "[Insert the name of a celebrity] is [insert any quality]." These assumptions are formed based on the public persona. Slowly, the assumptions mould into solid belief (courtesy of our media). Our knowledge is limited to the image we are fed and to the articles circulated on the Internet. We never know the personal side of things. Look at me, boring you with my philosophies - like a PhD! (No offense.)

Junie's life is a roller coaster. Her sex tape with Zachary Wilderness is leaked, leading to a divorce. Look out for the descriptions below the name. This one goes as "Broke Junie's Hymen/Heart." The producers see it as an opportunity to capitalize on her sex appeal. They go the extra mile by putting Junie inside revealing clothes. The album "Spoonful" spices things up. The Exorcist is known for the "masturbating with a crucifix" scene; this song features one with a spoon. The video successfully grabs 16 million views on YouTube (no surprise here). This fame follows another marriage, which lasts for 24 hours. This one breaks on the charges of assault. It happens when Junie talks about the universe and how it is expanding. There is a whole other side of Junie that asks philosophical questions, but no one is ready to listen. Alas, her body precedes the mind.

When she purchases a windowless house for a whopping $10 million, a reporter mentions, "For that price, I hope it at least comes with a door." Damn, the humor in Dollhouse is really hilarious. At a bank, the security specialist sniffs trouble by seeing three women with a black man. Dollhouse knows how to crack you up, and the laughs are not restricted merely to dialogues but also to the well-timed cuts. The editing plays an equal role in strengthening the comedy. The absurdity smoothens the blow of abhorrent moments - a three-year-old Junie forced to recite the alphabets while starving, an executive openly discussing the stages involved in turning a child into a teen adult star, a mother with insouciant feelings towards her baby, the press concerning themselves with Junie's look when she is in jail, and the society giving merit to a particular gender instead of talent - but never dilutes its sting.

I realized I have not mentioned the USP of this film, that all the characters here are played by dolls. Oh yes, Dollhouse consists of dolls. Does it matter? No. Is it a gimmick? Absolutely, no! Our relationship with stars comprises acting and influence. This means that they appear as a version of themselves in front of us, and we adopt their mannerisms. Zoom out, and you will see a higher-order pulling the strings of the ones below them. These "below" ones pull the strings of the people beneath them, and so on. Like a chain reaction, it goes on. If all the world's a stage, then we are puppets running in a show.

Note - Rock Salt Releasing will release ‘Dollhouse: The Eradication of Female Subjectivity from American Popular Culture’ onto SVOD on 11/11 and is also streaming on various digital platforms (Amazon, InDemand, FlixFling, Fandango, Vudu, Vimeo on Demand).

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