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п»їCharlie says: Manson from a gender perspective
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Much has been said about Charles Manson, "The Family" and the murders perpetrated against the young actress Sharon Tate and the LaBianca couple, among others. The morbid curiosity for crime has greatly nourished the mass culture that, motivated by the press, has not been slow to have repercussions in the cinematographic and even literary sphere.
The story that we propose today, the film Charlie says, approaches the question by moving away, in part, from the figure of Manson, approaching a gender perspective.
How did Manson manage to manipulate the young women who committed such terrible murders? What conditions did the individuals who joined his sect require? What were the consequences of their imprisonment?
Mary Harron is the filmmaker who allows a new reading of the case, approaching the figures of Leslie Van Houten, Patricia Krenwinkel and Susan Atkins. Harron directs Charlie says, a film that addresses the other side of the terrible murders committed by "The Family" and allows an approach to those who were the 'other victims' of Manson. A tragic vision full of crudeness.
How did 'The Family' work? No, not everything has been said about Manson and his terrifying 'family'. Charlie says premiered only a year ago, in 2018, at the Venice Film Festival and yet it brought us a new vision that moves away from the documentary format, but also does not embrace the fantasy recently experienced in Quentin Tarantino's latest feature film.
Despite this, the reviews were very mixed, with some praising Smith's performance as Manson, and others scorning it. On the Rotten Tomatoes site, it reaches 60% from critics and 80% from the public.
However, and leaving aside those more purely cinematic issues, we realize that many of these reviews appeal to the limited relevance of the figure of Manson; so, perhaps, we must think that this was not the intention of the author.
Charlie says, although she evokes Manson himself in the title, she does it in the third person, that is to say, she does not focus directly on him, but on three of his most loyal followers. And it is precisely there where the importance of the film lies, in knowing what led these three young women to become servants of the psychopath. It is not the figure of Manson, but what he said and what he did to lead an army of annulled people who barely had a voice.
Harron's film moves away from the morbid image and the mastermind of the murders to enter the minds of young women who, on other occasions, have been represented in a secondary, even anecdotal, way. Of all of them, the filmmaker decides to focus especially on Leslie Van Houten, whom we see as a totally insecure young woman full of complexes.
All the girls had several common traits: they were at an early age, close to adolescence; they had affective or emotional deficiencies; despite having family ties, they did not seem to find their place; and, above all, we see in them a total lack of self-esteem.
Manson consciously selected his followers -or victims- and took advantage of their lack of self-esteem to subdue them. Somehow, he made them feel special and part of something perceived as important. All of them left their families behind and entered a state of psychological manipulation that, combined with the consumption of narcotics, turned them into the perfect sheep of a flock ready for the worst.
Thus, Manson manipulated and obtained a 'family', plunged them into a kind of eternal honeymoon, but full of chiaroscuro, interspersing flattery with humiliation. All this in a system in which women, stripped of their identity and their own names, acted as slaves, both domestic and sexual. Manson promised something, dazzled them and made them believe in a fictitious war that was going nowhere. In this way, he built his clan and managed to end innocent lives in murders of non-existent finality.
Charlie says: gender violenceCharlie says starts some time after the imprisonment of the young protagonists, a time when they still seem to idolize and admire the figure of their leader. Karlene Faith, a college student, begins to work with the girls to help them remember their true identity and to make them aware of the atrocities they committed.
At no point are the murders justified, on the contrary, they are condemned. But it is true that the filmmaker tries to bring us closer to the point of view of the protagonists, trying to make us understand what was going on in their minds at the time of the crimes. Through flashbacks, we recall some of their experiences, their first approaches to Manson and what life was like at Spahn Ranch.
Thus, we observe a kind of society submerged by its leader, who spent his hours consuming narcotics and in which the young women tried to feel important, to look for an answer. Manson was a kind of 'Jesus Christ' for them, and he defined himself as such. A messiah, a man who was going to free them from their earthly bonds and who had given them 'selfless love' to young women who were lost and with a myriad of self-esteem problems.
This violence, which was initially psychological, becomes physical and, at the same time, triggers some sexual manipulation. Although the moments of lucidity during the stay in prison are not many, they are significant; and Karlene will come to question whether it is ethical for these young women to end up discovering that their crimes had neither justification nor purpose.
Is it better to continue living in ignorance or to face the harshness of one's own actions? Charlie says presents us with a road to redemption, repentance and pain.
Harron's point of view is tremendously feminist and, although for some it remains on the surface, the truth is that it ends up giving certain tinges of sensitivity to his story. Thus we see it when Leslie Van Houten, who has already disowned her family, realizes that her mother, despite everything, is still there, forgiving her and trying to get closer to her daughter.
In the end, we have before our eyes young girls subjected to a manipulative sociopath who cares only about his own interests.
The other face of violenceIn this day and age, it is inevitable to compare or draw similarities between Charlie Says and Once Upon a Time in Hollywood (Tarantino, 2019), as there are scenes that refer to each other. In this sense, while the latter offers us an unexpected turn of events and a "violence that delights our senses", the former is an infinitely cruder vision, in which laughter and aesthetics have no place.
As we pointed out at the beginning of the article, psychopaths -like Manson- tend to be particularly susceptible to being transferred to the big screen. Thus, without going too far, the seventh season of American Horror Story, 'Cult', took us to a morbid, violent and terrifying vision of the murders perpetrated by "The Family". Tarantino did his thing and preferred to give us a hopeful violence, the one that could have been and, unfortunately, was not. But Harron is neither at one point nor the other, he does not resort to morbidity or terror, but neither to the laughable.
Be that as it may, our history fascinates us, psychopaths feed nightmares more terrible than ghosts and the cinema echoes this. Manson is just one example of a long list of 'based on real events' that conquer the public at large.
Charlie says he leaves the murders out of the field and the result is even more violent, because that violence that cannot be represented on stage is because it is totally raw. Possibly, recreating one of these crimes and moving away from horror could become controversial and the filmmaker decided to stay on 'safe ground'.
If we want a Manson biopic, then it is better not to see Charlie says; but if we want to approach 'the other victims', humanize the impossible and approach, within the limits of cinema, a vision of gender violence, Charlie says can become an interesting option.
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