WIVES

Norway, 1975, 84 minutes, Colour.
Anne Marie Ottersen, Froydis Armand, Katja Medboe, Noste Schwab, Helge Jordal.
Directed by Anja Brelen.

Wives is a film from Norway. The Norwegian film industry is not very large and one might ask why a film about Women's Liberation made for and by women, should be produced in Norway in the mid-70s. One would expect such a film from other countries. The film is an interesting exploration of the lives of ordinary women, their getting together to discuss the meaning of their lives, their rebelling against the conventional restrictions for women in society and in many ways what they do throughout the film is an aping of masculine behaviour. It might seem strange to see women behaving like this. What about men? There are elements of humour, serious elements, questions to be asked in this inconclusive but at times penetrating study of ordinary women of the 70s.

1. The impact of this film in terms of enjoyment, message, emotional response? The title indicating all?

2. How evident was it that the film was made by women? For what purpose? A reflection of the 70s and liberation? The wider values of the role of women and their rights?

3. The basic feminine response to this film? To the liberation themes and the human rights themes? Was the film excessive or exaggerated? Balanced?

4. The basic masculine response to the film? An acceptance of the issues, rejection, a mixture of both? Why?

5. The impact of the structure, the initial introduction, the episodes and their gathering momentum, episodes illustrating various aspects of masculine behaviour and women's behaviour in the light of these? The unstructured ending?

6. What questions were raised by the film overall, by particular episodes, the characters? Were the questions fairly raised? Comparisons with masculine behaviour and masculine rights and attitudes? The final question and the indications of answer? In terms of rights, responsibilities, duties?

7. The initial girls' reunion and setting the mood for the film, the speech, the row of faces, the introduction to the main characters? The discussion about school days and memories? Girls growing into women influenced by their education? The statements of the teacher? The audience able to gauge the changes in each of the women? A sufficient basis for following them through the episodes?

8. The impact of the characters as women, as wives, their work, their yearnings? The particular differences between them? Their attitudes to marriage and children, to their husbands?

9. What motivated their going on a spree? Valid motivations, important yearnings? Their attitudes towards their husbands, especially Kaja and her fear?

10. The impact of the discussions in the sauna? Their decisions, their relating to one another after the years?

11. The importance of the shopping, the picnic, the reaction to the police, the humour of ogling the men, the parody of masculine behaviour? The point being made?

12. Their sense of freedom in going to the bar, allowing themselves to be seduced, the photography of the men posing as models and the parody of feminine behaviour? The discovery of the doll and their disgust? The ridiculing of the masculine types; picking them up, photographers, sex objects?

13. The nature of their argument and the fact that they did not always agree? Their hostility in the bar and their leaving? The humour of their flirting with strangers on the street and the impact on the various men, their answers? The atmosphere of improvisation?

14. The significance of the visit to Kaja's mother? The encounter between them, the old values, the memory of the past. the traditional role of wife and mother?

15. Mia and her return to her husband? Argument, love-making, obtuseness on the part of the husband? Mia's responsibility to work and the children?

16. The impact of Heldrun and her being sacked? Justice and injustice? Her reaction?

17. The exhilaration of the trip, their fight and hard words, the truth told about each of them? Heidrun's leaving, the joy of her return?

18. How effective was the final freeze? The end of the film,, but not the end of the story? What would happen? Were questions of marriage, responsibility and children and support of families well worked out? Was it important to leave these as questions? Why should such a film be produced in Norway in the mid-70's?