CATFIGHT: Both Physically & Verbally Bruising

Catfight is a satire that contains a biting wit that hits from the minute the movie begins. Even if it initially left me unsure of what it is a satire of, it still manages to work as a character study and the nature of envy, which can consume us to the point where we lose everything and all we have left is our jealousy and hatred. The depths of its storytelling molds well with the darkly comic sensibilities brought to life by writer/director Onur Tukel, and the dynamite performances by its two leading ladies.

Feud: Ashley & Veronica

Catfight is about two women who have had a rivalry that spans over the course of a lifetime. Struggling artist Ashley Miller (Anne Heche) and wealthy housewife Veronica (Sandra Oh) were close in college but have not seen each other since. After they reunite at a party, verbal bouts lead to a physical brawl that puts Veronica into a coma. Once Veronica finally wakes up after two years, she realizes that she has lost both her family and her wealth. In the meantime, Ashley’s art career has flourished. After another chance encounter, Veronica and Ashley end up locked in combat for years to come.

What’s The Point?

As I mentioned before, in spite of the film being categorized as a satire, I was initially unsure of what it is a satire of and what exactly it is trying to poke fun at. But as the film progressed, it left me with slight reminders of the 1968 horror classic Night of the Living Dead. While both films are different in genre and in plot, both films carry similar themes about the need for human beings to “feed off” of one another for sustenance.

Except in this film, the two women feeding off of each other to gain power and prosperity is strictly metaphorical, whereas in Night of the Living Dead, the need to feed was both literal and metaphorical. Also, because the narrative involves strictly two women in a never-ending battle, it allows the film to work as a character study as well as a critique of the lust for power often present in human beings.

Leading Ladies Carry The Picture

The two main characters are brought together with such pulsation by the actresses portraying them. Even when they are not throwing physical punches, both Sandra Oh and Anne Heche still fire up the screen with their sharp comedic timing, mixed with depth-filled dramatic characterizations.

While Sandra Oh presents us with a woman who is vain with relishing of her initial wealth as well as poking fun at her son for his love of art, she still lets us see the emotional bruises left on her, once all that she loved was stripped away, and without the use of dialogue. Her seamless blend of comedy and tragedy even makes the film a sad reminder of how Hollywood never properly utilizes her tremendous gifts as a performer.

As for Anne Heche, she is aces as Ashley, a woman with a more neverending arrogance that initially stems from how she is bitter over trying to make her dream as an artist turn to reality, but that bitterness grows into egotism once her dream finally does come true.

But credit should go to the supporting players as well. One actress in particular who stands out is Myra Lucretia Taylor as Donna, a former housekeeper of Veronica’s that acts as a moral compass, recognizing the good inside of Veronica in spite of Veronica’s ignorance towards her. Another standout is Ariel Kavoussi, who gives a hilariously layered turn as Sally, Ashley’s helium-voiced assistant who is treated as a punching bag yet is complicit and sweet before committing a quiet act of vengeance, which I won’t spoil. Alicia Silverstone also has a role as Ashley’s partner Lisa, and even if she isn’t given too much to do, she and Heche had some nice chemistry. Although, there is a later scene involving a baby shower where Silverstone does masterful work, revealing the passive-aggressiveness her character possesses.

A Refreshing Anomaly

The uniqueness of the direction by writer/director Onur Tukel is that, even though he is a male, he writes and directs it from a female lens. There are male characters present that are given some face time, but Catfight is all about the women and the dynamics between them. Admittedly, Tukel’s writing is better than his direction, because the film’s greatest strengths include the sharp dialogue as well as the acting. The only flaw in his direction I can think of is the aforementioned lack of understanding I had with what exact satirical voice he was trying to convey. But that could be because when I think of satires, I often think of ones that tackle specific topics like gun control, political elections, etc.

It is also a rarity to see two middle-aged women depicted in a film where they engage in blood-drenched action scenes, because when you look at who gets to be a star in the studio action movies of today, you notice that it tends to be the younger ingenues that have all the fun while actresses in the same age range as Anne Heche and Sandra Oh get sidelined.

Whether Tukel attempted to make any sort of political statement with his decision to center the story, that is partially action-based, around two older women remains to be seen. But it is refreshing to see a movie like this being told to begin with, because it would probably give Hollywood execs cat scratch fever.

Conclusion

In the end, Catfight may not satirize a specific hot button topic the way traditional satires do like Dr. Strangelove, which satirizes the Cold War, or Election, which depicts high school politics. But it still manages to work as an exaggerated depiction of what drives us as general human beings. It shows how people can be so consumed with envy, craving a thirst for what someone else possesses which leads to long-term consequences, whether they satisfy their cravings or not.

The film’s depiction of such humanistic tendencies leads to an effortless blend of biting humor and gut-punching drama, with a touch of action-packed fight sequences. And all brought to life by writer/director Onur Tukel and both Anne Heche and Sandra Oh. Here’s hoping that after this film, these two ladies can punch their way into bigger things in Tinseltown, reminding people what they have been missing.

If you have seen Catfight, what did you think of the performances and how did you interpret its satirical approach? Tell us in the comments!

https://www.youtube.com/watch?v=5gvWokFSfOM