Identity Essay

"Identity can only be realised through discovery of self and not imposed on the individual by society"

Discuss this statement with close reference to the film "Muriel's Wedding" and two other texts of your own choosing.

While identity is often imposed on individuals by societal expectations, a sense of real identity can only be realised when individuals are true to themselves and can only be achieved through introspection. This non-essentialist/ essentialist view on identity is clearly demonstrated in P.J Hogan’s film “Muriel’s wedding”, Rosemary Dobson’s poem “Cock Crow” and the dust jacket of Nicolle Rosen’s biographical novel “Mrs Freud”.

Society plays a significant role in the formation of identity of individual characters in “Muriel’s Wedding”. However, identity imposed on the individual is not a true reflection of self. This concept is clearly illustrated through the character of Muriel Heslop. From the opening credits of “Muriel’s Wedding” the central issue of feminine identity and the powerful expectation of society that success is defined by marriage is realised in the establishing shot of pink cursive font and a bouquet flying through a confetti peppered sky. Instantly the symbolism of the coloured font conveys to us that the film will be exploring feminine identity, which has been caught up as a stereotypical rite of passage. The camera with an undershot follows the flying bouquet with the sound effect of a bomb falling to remind us that this is a competitive world as each girl hopes to legitimise herself in a still patriarchal society, by catching the bouquet and becoming the next bride. The scene then cuts to a close up of grasping hands and screaming faces, once again emphasising the competition to be the first down the aisle. Muriel who catches the bouquet with an expression of absolute delight is also caught in the societal pressure to achieve identity through a husband.

This concept of socially imposed identity is revealed in another scene of Muriel at the bridal shop. Rhonda confronts Muriel with the truth that she has been living a lie with all her bridal fantasies, this is clearly revealed through the mis enscene in which Muriel dressed as a bride stands next to a naked mannequin covered in plastic. This contrast symbolises that Muriel has yet to вЂ?strip down’ to her true self. At this point in the film it is Rhonda who has uncovered Muriel’s true identity, her вЂ?naked self’. In the confrontation Muriel declares “If I can get married it means I’ve changed I’m a new person” revealing the pressure society brings to bare on her sense of self worth and identity.

Another character imprisoned by a socially imposed sense of identity is Muriel’s mother Betty Heslop. In the scene before the police bring Muriel home Betty is in the kitchen and the camera tracks to a mid shot as her lazy children sit prostrate in the adjoining lounge room. The youngest daughter shrieks at her mother “Mum make dad a cup of tea” and the camera then tracks from a long shot to a mid shot of Betty who with a vacant gaze responds to the order as through she is their servant. Betty is then filmed in close up looking alienated, vacantly staring at the teacup as it moves in a recurring cyclical motion in the microwave. This scene symbolises her life, which goes around in meaningless circles representing the infinite trap that Betty has fallen into as she attempts to fulfil the role of wife and mother that society expects of her. Betty is presented as completely dissociated from reality in this scene but it is not until the final scenes of the movie that the audience fully appreciate how empty her life has been as wife and mother. When Betty loses her role as wife she is completely lost because she has never achieved a sense of self outside her imposed role. The scene that best symbolises this is the burnt backyard scene. The high angle shot of the suburban backyard smouldering with the burned clothes swaying on the hills hoist best symbolises the frustration Betty felt fulfilling an identity imposed on her by society. The hills hoist, like Betty’s life is based around a meaningless circular motion. Burning the hills hoist was Betty’s final act of self-immolation and defiance against her imposed role.

Just as Betty Heslop is frustrated in her role as wife and mother so too is the persona of Rosemary Dobson’s