Graphic by Gill Kwok
If you know me, you know I am not a fan of mob movies. I recognize the objective quality and historical significance of some of them, however, watching angry white men shoot each other, feel no remorse and be misogynistic is just not my cup of tea, personally. I know they are intentionally presented as flawed, but I simply cannot relate to these characters in any way to empathize with or root for them. I mention misogyny. In many films of the mob genre that come to mind (i.e., “Goodfellas”), there is a trope of the confused, bothersome wife who just does not understand the mob lifestyle and only serves as a handy object to satisfy their busy man’s sexual desires and endure his inexplicable rage and absence. These characters are never fully fleshed out, but simply misogynistic placeholders to advance the man’s character development.
“I’m Your Woman,” released by Amazon Studios on December 11, turns this typical narrative on its head, presenting the journey of a mob wife with all of her human complexities, struggles and potential. It also effectively communicates the harm done as a result of this lifestyle, the repercussions her husband, Eddie’s choices will have on her life for years to come. Written and directed by Julia Hart (“Miss Stevens”) and co-written by her husband, producer Jordan Horowitz (“La La Land”), Rachel Brosnahan stars as Jean, our protagonist who is forced to abandon what she thought was a peaceful, quiet life and go on the run in the 1970s United States. She is a brand new mom and must navigate this role while grappling with the unexpected circumstances she finds herself thrown into.
As Jean witnesses the disturbing consequences of Eddie’s work, we see her truly discover herself and her capabilities as a mother. Faced with the responsibility of cleaning up his mess, something she never asked for, she proves and realizes the resilience she had all along. Though I believe certain areas of the plot could use more examination and the pace sometimes drags, “I’m Your Woman” is aided by a clever screenplay, captivating characters and interesting twists that leave the viewer reeling. Performances by Brosnahan as well as Arinzé Kene and Marsha Stephanie Blake are strong. Ultimately, the most prominent theme I took away from the film is not blatantly obvious from a plot summary: the strength and power of a mother’s love for her child.
The film opens with a voice-over narration by Jean describing her daily situation and her and Eddie’s history in a nutshell; Eddie leaves, and she is alone. They wanted to have a baby but never did. We see her sitting outside, clad with glamorous sunglasses, smoking and drinking white wine. It illustrates the sameness and lack of substance in her life. There is an aesthetic of magenta and yellow, pops of color and patterns in their home, and the costume design is eye-catching. Eddie randomly comes home with a baby, their baby. She holds him, stunned and unprepared. It felt unrealistic to me that she just accepted this, and they never discussed where he came from. The next day, Eddie tells her he will not be home that night, with no further details even though it will inevitably affect her and their son.
“I’m Your Woman,” … turns this typical narrative on its head, presenting the journey of a mob wife with all of her human complexities, struggles and potential.
That night, Jean is abruptly awoken by someone Eddie works with and is told she has to leave immediately. Accompanied by the sleek, swinging piano score by Aska Matsumiya, she takes the baby (who she names Harry) and meets Cal, portrayed sensitively by Kene. Little does she know that she will form a close bond with him as they travel together. Guarded but with a genuinely good heart, Cal feels a duty to keep Jean and Harry safe. After a kind neighbor becomes a casualty of Jean’s dangerous and unintentional involvement, she shares a sweet scene in a diner with Cal. In a moment of warmth and humanity, they sing “Natural Woman” by Aretha Franklin together. At times like this, it somewhat resembles a buddy movie. There are racial implications explored; Cal is a Black man, and while driving Jean and Harry, he gets stopped by a police officer who questions them aggressively, asking Jean why she is with him and if he is bothering her. She tells the cop that he is her husband, and they are free to go. I think that this material could have been addressed more thoroughly; racism is not tackled head-on beyond this short scene.
Cal takes Jean to his family cabin then promptly leaves. Later she meets Cal’s father, Art, wife, Teri, and son, Paul. She connects deeply with wise Teri, played honestly and compassionately by Blake. Teri speaks to Jean about the challenges she has faced and her previous relationship. Jean learns shocking truths that emphasize how she never really knew her husband. The two women set off on a quest to the city to find Cal, which ends in a violent car chase. Jean, overwhelmed, has to employ her instincts to fend for herself, Teri and Cal; Brosnahan’s face conveys the frustration and fear Jean feels, but still, she perseveres. Reunited at the film’s conclusion, Cal and Teri embrace Paul. As the entire new family unit drives away, Jean looks at Harry, and her face gradually transforms into a smile, confirming that all of the stress and difficulty was worth it — for him. She is finally in control of their life. This last scene is triumphant but also quite sad because of how much has been lost as a result of one man.
Protecting and taking care of their children were the underlying reasons for every action Jean and Teri took; there was something on the line greater than themselves and made finishing the fight absolutely necessary. The greatest merits of “I’m Your Woman,” in my opinion, were 1) this underlying message and 2) the richness of the characters brought to life by stunning performances. I was invested and found myself growing concerned when their fates were uncertain. Overall, Hart successfully achieves a fresh take on a tired genre.
“I’m Your Woman” is available to stream on Prime Video now.