Smith: Media Analysis

Media Analysis: “Enough:” Feminist or Not?

The drama/ thriller "Enough," starring Jennifer Lopez, was released on May 24, 2002. The film brought in approximately $17,213,137 in its opening weekend in theaters and showed on over 2,500 screens around the United States (Sony Pictures). This film tells the story of Slim, played by Lopez, who thought she was living a picture perfect life. Married to a handsome charming man Mitch, played by Billy Campbell, with an adorable daughter Gracie, played by Tessa Allen, Slim was living in a fairytale. However, Slim realizes six years and one child later that her once ideal life had dramatically been altered by the man she thought loved her most. Her husband’s actions place Slim in the position to protect her life and her child’s life by all means necessary.

At first glance this film is thought to be a feminist piece. At the conclusion of the film Slim over powers her abusive husband in a battle to win back control over her life. This action illustrates the female empowerment that many third wave feminists tell women to strive for and praise throughout their literature. However, a closer analysis, scene by scene, reveals that this film also includes those patriarchal; male dominating, characteristics found in most classical cinema. This paper is designed to discuss if this film is feminist or is it masquerading as women-friendly? This paper will focus on the character Slim and her battle that comes from having no education and being financially dependent on an abusive husband. Furthermore, this paper will cover the seriousness of domestic violence and dependency and how one woman reacts when placed in these situations.

Throughout the film “Enough,” moral issues that need to be addressed by society are unveiled. The film exposes the battles that woman encounter everyday in the real world. These important issues include financial dependency and as a result, domestic violence. Men are usually the primary bread winners in a relationship and therefore believe they have the right to control the woman. Even through violence, if necessary. This concept of male superiority has been engrained into the minds of men since birth. Mitch’s control can be seen early on in the film. Marrying Slim who he wanted, purchasing the house that he wanted, and continuing an affair while being married because he wanted to all illustrate that Mitch is a man who gets what he wants. “I am a determined man and I refuse to live without you Slim,” said Mitch. The film also emphasizes the consequences of violence in terms of family life. A woman can only take so much, but soon she will come to a breaking point. “A woman has the divine animal right to protect her life and the life of her offspring,” said Jenny, Slim’s friend from the Red Car Diner.

What is interesting throughout this film is Slim’s change in her sense of self as it progresses. She first sees herself as a potential victim then she becomes someone who has the ability to fight back. The movie begins with Mitch, Slim’s soon to be husband, defending her honor in the diner that she quit school to work at so she could make ends meet. She later finds out that it was all a scheme to win her heart over. The two meet, fall in love, and are soon married. The first act has a light romantic tone that intentionally tries to mislead the viewer and does not exemplify any feminist characteristics. Instead, it paints a picture of the typical dependent housewife. All throughout the scene Mitch is described as wealthy, charming, and handsome. By doing this, the underlying text suggest that abusers are crazy, have lost control, and are therefore, rare (Jones, Ann). This assumption is not true. The battering man is perfectly in control of himself and the woman he batters; after all, that is the purpose of battering (Jones, Ann). Violence is an all too common practice in the United States engaged in by “normal” males’ every day.

When Mitch’s personality takes a turn for the worst, the patriarchal behavior continues. The film does not encourage Slim to learn to take care of herself, but yet to look to other men to be her protector. Slim shows this by seeking help from her estranged father and an ex- boyfriend. The final transition in this film is the epitome of a feminist text. Slim not only realizes that she has had enough, but also that she must provoke Mitch to violence so that she can gain evidence to use against him.

The first feminist issue addressed through Slim’s character is the dangers of financial dependency and how it affects her relationship and status in society. Mitch tells Slim quite clearly that he makes the money, so he makes the rules. After Slim goes on the run, her husband, who she has grown dependent on, freezes her accounts, and therefore halts her escape. Mitch’s growing control issues, that soon lead to violence, and Slim’s dependency can be seen throughout this film. According to an online site, women financially dependent upon their abusers may be reluctant to leave when income support levels means utter poverty for her and her child (Coalition against Violence). The article also went on to say that some women lack access to cash or bank accounts, thus contributing to the abusers control over the abused (Coalition against Violence). At least 50 percent of homeless women in the United States are in flight from male violence (Jones, Ann). This statistic points out the true effects of financial dependency. It also hints that women remain in these abusive situations in fear of becoming homeless. The problem is clear; dependency and control are major factors in violent relationships.

The second feminist issue highlighted throughout this film is domestic violence and the assumptions that surround the word “battered.” According to domesticviolence.org, domestic violence is defined as behavior used by one person in a relationship to control the other person. In an article by the Feminist Majority Foundation, it states that statistically within the United States one out of every four women will experience violence by an intimate partner sometime during her life. According to a 2000 UNICEF study, 20-50 percent of the female population of the world will become the victims of domestic violence (FMF). The article also stated that women are most vulnerable when separated from their partner. This can discourage women from leaving their abuser, out of fear that it will increase their risk of victimization (FMF). Male violence against women is real and is on the rise (Jones, Ann).

The violence in the film begins when Slim discovers her husband is having an affair. After confronting Mitch the second time about the other woman, she is punched in the face and is told by Mitch that “this is the price you pay for having such a good life.” After this first attack Slim goes to the police, but becomes aware that the law can do nothing to protect her. In an article in the New York Times entitled “The Law: Feminist Scholars Spurring a Rethinking of the Law,” feminist state that the traditional body of law developed by men fails to take into account women’s real life experiences in the area of spousal abuse. Experts such as Susan Schechter, author of “Women and Male Violence,” say that men continue to use violence because that can. The most effective way to protect women is to arrest batterers and send them to jail (Jones, Ann).

Fearing her life and her offspring’s life, Slim takes Gracie, but before she can step foot out the door, she is confronted by an angry Mitch. Slim is left unconscious after the confrontation, but is rescued by her friends. Slim does not want to go to a shelter, the hospital, or even back to the police for fear of Gracie being tainted, meaning to be affected by contamination or corruption. Slim’s reasoning is similar to the one expressed in Bell Hook’s “Violence in Intimate Relationships: A Feminist Perspective.” The women in this piece are more concerned with their reputations in society than the well being of their own health. As slim dismisses her well being to protect her family from society’s critics. The control continues as time and time again she is tracked down by Mitch’s cooked cops.

In her final attempt to end it all, Slim acquires a body double and is trained in Krav Maga, the Israeli army’s martial art. With a fast approaching custody hearing, Slim returns to the hands that had harmed her most. She hides out in Mitch’s house and waits for his arrival. When he returns and finds Slim he asked, “Man against women. Is that really fair?” Slim replies, “Fair to whom?” The encounter begins and this final scene ends with Slim’s triumph over Mitch. Slim finally regains control over her life. This feminist empowerment film exposes the seriousness behind financial dependency, violence, and why women remain in these detrimental relationships. “Enough” depicts one women’s reaction to domestic violence, but all too often the woman is the one left lifeless on the ground.

Throughout the film the character Slim is forced into many undesirable situations as she tries to break the chains that bind her to an abusive husband. Slim’s actions typify the second wave through her consciousness raising. She exemplifies female empowerment at the conclusion of the film, stereotypic of the third wave. Although plagued by the characteristics of male dominance, this film not only addresses issues of today, but also those that will effect generations to come through a feminist perspective. The woman in this film works against societies disadvantages to achieve independence and removes herself and her child from an abusive household. Her actions leading up to the conclusion of this film show that feminist qualities are at work in this film.







This is the final scene in Enough.