Masculinity In The Dressmaker

The Dressmaker, a film directed by Jocelyn Moorhouse presents the protagonist, Tilly Dunnage as a character of resolve and independence, not usually associated with females during the early twentieth century. Moorhouse’s use of language, cinematography and setting reflect to us female empowerment. Tilly rises from humble beginnings and experiences prejudice and sexism which ultimately lead to her actions. The Dressmaker is set in the 1950’s, in the grain-belt of South-East Australia. Tilly’s actions reflect the director’s defiance of the phallocentric power wielded by the Australian male during the early twentieth century.

Tilly’s return to Dungatar is an act of defiance against patriarchal power of the era. In the film’s opening Tilly’s statement

We, the audience are presented with Teddy McSwiney, uncouth, rugged and charming, a caricaturised representation of males usually associated of the era. He states “I can take of you if you let me” to the female protagonist emblematic of masculinity and meekness of femininity. The director though presents an avant-garde as the archetypal male protagonist does not save the female, rather ultimately it is these elements which lead to his downfall. The directors use of avant-garde further stems to other male characters, as Sergeant Farret represents a femininity not usually associated with male characters. The dichotomy between the strong masculine features of Farret’s role of lawman and community leader and his strong effeminate qualities challenge the expectation of male sexuality of the 1950s. Moorhouse establishment of atypical male characters allow the audience to examine the film from a gender’s

The townspeople exemplify parochialism, hypocrisy and weakness. Upon arriving to Dungatar, Tilly is greeted by the incriminating light of the town sergeant, Farrat to which she remarks “what have I done this time?” reflecting her awareness of a stigma held against her by the townspeople. The people of Dungatar with the exception of Teddy McSwiney are unforgiving, secretive, yet willing to castigate others. The director establishes a disparity between Tilly and the townspeople. A long shot of Tilly as a child being chased by a mob of the town’s children as she reflects on the pangs of her childhood is underscored by the director’s use of grey as the audience is also able to discern the protagonist’s moral perspective of the townspeople and her desire for revenge. Evan Pettyman, councillor and leader of Dungatar reflect to the audience the façade of its inhabitants, a superficially kind man but surreptitiously a corrupt politician and philandering husband whom keeps secrets from his wife which lead to his downfall revealing to the audience that immoral actions are not sustainable, whilst simultaneously reflecting the falsely condemned ultimately gain moral redemption. From a moral perspective, Moorhouse’s establishment and downfall of immoral characters reveal to the audience motivation for the protagonist’s