Debut: 'Makeover Movie' Unmasking The Hollywood Fantasy
Makeover Movie (2022), directed by Sue Ding, made its debut on Vimeo on July 8th, offering a comprehensive essay film exploring the makeover movies we loved and grew up withFeaturing nearly one hundred film scenes and images from pop culture classics such as Clueless (1995), Mean Girls (2004), and Pretty Woman (1990), Makeover Movie immerses the audience in the splashy and perky world of early 2000s makeover clips. Many teenage girls have grown up watching films where a tomboyish, nondescript, or even unattractive protagonist undergoes a dramatic makeover, transforming into a stunning beauty. This transformation is often portrayed as every girl's dream. But why is this ideal so captivating, and what exactly is Hollywood's standard of beauty?
Sue Ding delves into over a century of film history, crafting a humorous yet alarming visual essay filled with clips from nearly a hundred films that depict the same image. In addition to these iconic films, Ding, along with women of color and queer women, provides commentary on the racialized, heteronormative, and contradictory beauty standards infused throughout these movies. Makeover films at their core are a step-by-step guide on how to assimilate, how to be a woman, and how to be American. The montage of images and commentary reveals a troubling conclusion: “normal” women, women of color, and queer individuals are conspicuously absent. Moreover, with the vast majority of these films predominantly featuring all-white casts and protagonists who are blonde and blue-eyed, people of color are often relegated to the role of sidekicks, serving primarily to highlight their white best friends. Money is portrayed as the ultimate goal, and the person in charge is invariably an older, wealthier, white man.
The film explores the love-hate relationship with scenes that evoke “a secret longing and hope that if [they] do all these things, [they] can change.” From the chaotic stops at the hair salon to a stylist throwing clothes out of a closet, the once-nerdy loner suddenly transforms into the Princess of Genovia. It is interesting that, while the narrative promises this transformation could happen to anyone, it always falls upon a “skinny, brunette, and white” woman. Despite promoting the idea that a new and improved version of oneself is right around the corner, the beauty standards presented are unrealistic and exclusively directed toward white women. Beyond beauty standards, the film also addresses how people are expected to exist in this world.
The films critique the characterization of protagonists prior to their makeovers, often depicting them as “butch” or “unappealing to straight men.” Additionally, intelligent women are negatively portrayed, as post-makeover, the protagonists frequently adopt a new personality, becoming overly confident and verging on arrogance. A troubling pattern emerges in these films, with scenes of sexual assault occurring shortly after makeovers. This sends a clear, problematic message that women have only two extreme options: they can either remain the glasses-wearing nerd or transform into a hyper-sexualized version of themselves. The narrative further complicates this by suggesting that “women have to be sexy, but not too sexy,” highlighting the perilous aftermath of makeovers where sexual assault is depicted as a consequence. This establishes a dangerous cause-and-effect relationship, reinforcing the notion that women must attract male attention while navigating the inherent risks. Moreover, the portrayal of food in these films underscores an additional layer of problematic messaging. Almost every makeover film includes scenes where food becomes an issue—whether the protagonist is eating it “wrong,” spilling it on themselves, or being persuaded by friends to avoid eating to maintain a slim figure. This not only reinforces unhealthy beauty standards but also suggests that a woman's worth is tied to her appearance and conformity to societal expectations.
