“A greatly rewarding hour of insight and grace for cinephiles, feminists, and iconoclasts everywhere.”
Louise Orwin is one savvy film buff and her one-woman show, A Girl and a Gun (the title of which is derived from Jean-Luc Godard’s notorious quote “All you need to make a film is a girl and a gun”) is sixty minutes of finely crafted satire/tribute/criticism/fun on that very notion. For cinephiles and non-cinephiles alike, A Girl and a Gun offers laughs, thrills, and intimate insights into some of popular culture’s most beloved genres and setups within film, while asserting a masterfully subversive message.
Orwin is an electric performer, constantly keeping the audience guessing and engaged as she flits from scenario to scenario as “Her,” representing the interchangeable, lazily written female in so many Hollywood films. She is accompanied onstage by an unspecific male counterpart, as “Him,” a random actor who had responded to the show’s online call for male performers, and who is a different person every night. “Him” reads his lines from a teleprompter, and is, charmingly, just as surprised, shocked, amused, and impressed at the show’s content as the audience is at every turn. For Orwin has created an amalgam of sorts, of every misogynistic and abusive male-female dynamic presented in male-ego-centered films, to prove how toxic and destructive masculinity in popular culture can be.
“Him” is scripted to seduce, kiss, betray, bully, abuse, physically hit, and generally mistreat “Her” in carefully structured ways, so that sometimes he has free reign to strut around and take advantage of the audience and damsel in front of him, and other times he has no real choice but to act like a heel. Her commentary is strikingly simple, as she uncovers the terrible unfairness and cruelties beneath many a male/female action hero/damsel dynamics.
What is most impressive and reassuring about the show’s approach is the level of research evident behind the faithful recreations of the films it satirises. It is presented in a format all Tarantino fans will recognise; divided into chapters with pseudo-poetic titles like “Cherry Picker” or “Why You Don’t Have to be American to have an American Dream,” which is a particularly impactful one. Taglines, catchphrases and devices from lots of Tarantino’s writing are featured, including dances reminiscent of Pulp Fiction and Death Proof, and the opening theme from Kill Bill – indeed the piece is chock-full of cinematic observations and criticisms that are spot-on if you are a fan of the retro-worshipping, Western-esque American odysseys Orwin comes after. There is a particularly impressive and hilarious sequence in which Orwin and the male actor recite all the typical names of “Him” and “Her” in these films, like Charlie, Bobby, Big Charlie, Big Bobby, Tommy, Tony, Big Tommy, Big Tony; Suzie, Jenny, Little Suzie, Little Jenny, et cetera.
Points like these are also, in a larger sense, what makes Orwin’s show so clever and incisive; there are no individual films or even individual scenes that are criticised on their own. Rather, A Girl and a Gun takes aim at the sheer repetitiveness and laziness of re-used, tired tropes, with great success. One of the most memorable sequences comes near the ‘end’ of the experience, when “Him” has forsaken “Her” and she must, as she does in so many films, die. Orwin’s “Her” dies at least ten times in a row, in various gruesome fashions, from being shot with numerous types of firearms to being tied to a train track and run over. Her point lands with a surprising amount of grace, as we recall so many female characters who have been extinguished simply to prove the male protagonist’s point, and it is the sheer quantity of such deaths that packs the greatest punch.
The attention to detail in this show is also commendable, from the use of projection and subtitling to recall a movie being written and filmed, and on-screen directions for “Him” to don various costumes, play with numerous prop firearms and “act like he is in an action movie”. This device in particular leaves a meaningful impression, presenting both “Him” and “Her” as pawns of the written scripts, and suggesting it is not necessarily inherent to a man’s composition that he acts so cruelly — he is written that way, much as many men may have learned their behaviour from movies where that very same behaviour got the girl and saved the day.
A Girl and a Gun presents an ingenious deconstruction of male ego, cinematic influence, and the truth beneath the beauty of so many of society’s favourite films. It is a greatly rewarding hour of insight and grace, plus a goldmine for cinephiles, feminists, and iconoclasts everywhere.
Reviewer: Nathaniel Brimmer-Beller