My husband and I saw Ghostbusters separately. We each saw it alone, which is perhaps the best way to know whether you really enjoyed something; you’re not reacting to it with anyone, so it’s all on you.
I loved it. He thought it was fine. We, like everyone else in the world, both fell hard for Holtzmann; we diverged on Hemsworth. I was pleasantly surprised by his straight delivery and almost deadpan gaze; my husband found him a bit lifeless. We agree that the first half hour takes too long to get to the point. I would say that too much space is given to Wiig and McCarthy to do their thing as individuals when the strength of the film is the union of all four characters, and in particular the rock solid contributions of Jones and McKinnon. He reckons that they are both simply not that funny in the first half of the film – individually and together. We were both glad that, even if Patty is still relegated to being the only non-academic of the group and a bit ‘urban’ (which could have been a massive cringe as the only notable POC in the film), she’s actually far more rounded than the trailer suggested, and massively well self-educated to boot. But still: overall I loved it, pre-ordered it on Blu-ray (yes, some people still do that) and can’t wait to see it again, and he thought it was a bit better than okay but… yeah, whatever.
Here is where I wonder if it’s actually impossible to separate political joy and filmmaking objectivity. Do we even need to? My husband’s position is arguably more ‘objective’ than mine in that he is, by definition, less invested in the film being good. He has never had to go out at night worrying if tonight is going to involve (another) assault or death; on a recent re-watch of the original Ghostbusters he himself pointed out how revoltingly predatory Bill Murray’s Venkman is but I think he could see it rather than feel it. As a child I watched that version many, many times every summer – that and Mannequin were the only vaguely suitable films in English that my grandma’s local video shop in Athens carried – and yet I never loved it. At the time it was groundbreaking in many ways and the premise remains an excellent one, but I did not warm to it the way I did Back To The Future, The Goonies and Pretty in Pink. Even Mannequin, frankly. That’s fine, I didn’t have to. I can accept that it wasn’t, in the end, made for me.
But this Ghostbusters, at this time, was. And I accept the gift wholeheartedly. I feel an intense and lasting joy at the lack of casual rape jokes, at the tongue-in-cheek references to fanboy trolling, at the deliberately practical and unsexy costumes, at Holtzmann’s triumphant battle scene, at female friendship that doesn’t centre on relationships, at flawed women being flawed. And it doesn’t matter to me whether future generations objectively think that joke was as funny as it could have been, etc. I lost patience with this Ghostbusters only when it delivered heavy-handed fan service to the original (Aykroyd’s lamely game cameo was really just awful, and Murray’s awkwardly unnecessary; Hudson’s was actually quite sweet and natural but made the sad lack of Ramis even more keenly felt). When it was its own, kickass thing, behaving as if comic female action leads are just the most natural thing in the world, it was exactly what I always knew could happen if we just let it.
To be honest, the best case scenario is that women in the future find this film a bit of an embarrassing relic that their mums like. That there are so many original, brilliant feature films that don’t need to rely on an existing formats to make their point that this seems a bit old fashioned and unnecessary. I do not need it to last. I do not need it to be ‘objectively’ brilliant to do exactly what it was has done (even if I think it does actually stand up just fine most of the time, thanks). If the greatest value this film ever has is as a gender political statement, then that is more than enough for me.
And if my husband has to stand there in his wrongness, be wrong and get used to it, then I dare say we can both live with that too.