You are currently browsing the category archive for the ‘Honorable Mentions’ category.

I recently watched Wildling, directed by Fritz Böhm, and by the end I had concluded that it at least qualifies as an Honorable Mention here.

Anna grows up with a man who is (to us) obviously not her father, who keeps her locked in a room with warnings about the monsters (called Wildlings) that prowl the woods looking to eat small children. When she enters puberty, he gives her drugs to suppress it, making her ill. Eventually, he attempts suicide, but bungles it, ending up in the hospital, and Anna is rescued and fostered by the local sheriff while she acclimates to society. She befriends the sheriff’s younger brother who becomes her companion, and is assisted by a wild man living in the woods. Her adjustment to the world of school and parties is interrupted by disturbing physical symptoms of her transformation into something else (and a new set of instincts that cause her to tear out the throat of a bully who tries to rape her).

Just as Anna is learning more about her origins and true nature, she is suddenly thrown in jail for the bully’s murder. She escapes, and takes off into the wilderness. She is pursued by law enforcement, but more dangerously by a group of wildling hunters, including her so-called “father” (now recovered from his botched suicide attempt and having learned no lessons whatsoever). In a final confrontation, she unleashes her animal self and triumphs over her former captor, free now to fully become the wildling she was meant to be.

kojoI actually decided to watch The Burial of Kojo simply because I love magical realism and the trailer drew me in. Didn’t actually occur to me to look at it from a Girls Underground perspective until 3/4 of the way through, when someone tells the protagonist that time is running out to rescue her father. click! Then I thought back through the rest of the film and ultimately decided that while this hits a lot of the right notes, it’s really more of an honorable mention, not only because she has no companions but because of the ending.

It’s hard to discuss this movie in a GU context without giving away too much. Suffice to say there is a distant mother, guidance from a stranger that propels her into a mythical realm of sorts, an otherworld that is upside-down, and an Adversary who shows up both in this world and that one, in different guises. Esi is special, for sure, although she only understands how when it may be too late.

On a side note, Girls Underground stories often reference others of their type. I have to wonder if this particular shot from Kojo (top) was a deliberate reference to an extremely visually-similar shot from GU classic Pan’s Labyrinth (bottom).

bkpl

In the Night Wood by Dale Bailey is not a Girls Underground book. It is a story about a man who, having lost much, becomes obsessed with uncovering a mystery behind the author of a strange Victorian fantasy tale called, of course, In the Night Wood. And that story, the book-within-a-book, appears to be a Girls Underground story.

“What would she do now? she asked herself as the fell King spurred his horse into a gallop and hurtled down the corridor of trees. She recalled too late the words the Knight of Ice had imparted to her at the end of his Tale: When you come to the end of your own Story, he had said, you must remember the thing that you have forgotten. But how could you remember the thing you had forgotten when you had forgotten to remember it? she wondered.

And then the Horned King was upon her.”

As you can see from this excerpt from the book-within-a-book, there is also a deep awareness of The Power of Story running through these recursive tales, which also grabbed my interest. And then, of course, there’s the gorgeous, very GU cover:

nightwood

We don’t really get enough of the Victorian story to be 100% sure of its details, but there is a girl, and a journey into an otherworldly forest, and an Adversary. We get just enough tantalizing morsels to make me hope that Bailey will some day reveal the whole thing, much like Catherynne Valente spun out The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making after fans begged her to expand on its mention in another of her books.

Bailey’s book is well worth reading beyond any GU connection. It handles the intermingling of folklore and the everyday very deftly, with an understanding of how mythic reality can manifest subtly at first, starting in the caverns of the mind and slowly bleeding out to take physical form. And how terrible and bloody it can be.

magicmirrorMagic in the Mirror is a 1996 kids film produced by Charles Band (who has done hundreds of very cheesy, very weird horror movies for adults) featuring anthropomorphic duck animatronics reminiscent of Howard the Duck, which just about tells you everything you need to know about this movie.

Mary Margaret, a little girl with very distracted parents, receives her grandmother’s antique mirror as an inheritance, and manages to walk through it into another world. For some reason, this world seems almost entirely populated by creatures called Mirror Minders and the aforementioned anthropomorphic ducks (who have human-like arms instead of wings and fly by flapping their capes). The evil duck witch queen likes to drink tea made from boiling people alive (so it’s one of those kids movies, not pulling any punches to shield young minds from horror). Mary Margaret meets some guides/companions, is captured, rescued by her imaginary friends (who are pixies on this side of the mirror), and encounters the true Queen who is some kind of fairy or something, and while not as evil as the duck queen, not very nice either. The Queen punishes Mary’s companions by “planting” them and will only reverse the process if Mary defeats the duck witch.

In the end, Mary’s mother is really instrumental in defeating the Adversary, demoting this one to an Honorable Mention in my book – along with the fact that both of Mary’s parents realize, in the end, how distant and distracted they’ve been, and resolve to be more attentive, which is also somewhat contradictory to the Girls Underground story. However, in a final nod to the archetype, Mary discovers that she is part of a line of Mirror Minders herself (her grandmother being the previous one), and returns home with a new sense of sacred duty.

There is apparently a sequel (Magic in the Mirror: Fowl Play) but I think I can skip that one.

Mary and the Witch’s Flower is an animated movie in the style of the famed Studio Ghibli but in my opinion not quite up to those standards, missing some of the true magic, but nonetheless at least an Honorable Mention as a GU story.

Mary, a young girl with distant parents (who never show up during the story) is staying with her great aunt when one day she follows a cat into the woods and finds a magical flower that only blooms once every seven years. When she picks it, she ends up being transported to a college of magic run by a sinister headmistress, who believes Mary to be an unusually powerful witch, and her companion cat a familiar. She returns home in the middle of the story, and makes a mistake that results in a village boy being stolen away and transformed. She must rescue the boy and stop the headmistress – but she never has an actual confrontation with the Adversary. Ultimately it is revealed that her great aunt set things in motion long ago, as often happens with Girls Underground and family legacies.

 

“A hundred times she had learned the ways and turnings of the Labyrinth and had come to the hidden room at last.”

I read The Tombs of Atuan  – the second book in Ursula K. Le Guin’s original Earthsea trilogy – many years ago, but for some reason neglected to add it here. Re-reading it, I find that it is missing some of the common GU elements, but matches more closely the mythological versions of the story, which hadn’t yet developed some of the details we find in modern examples.

Tenar is taken at the age of five years old to be a priestess of the nameless gods who inhabit an underground labyrinth beneath a complex of temples. Her name is taken from her, her identity “eaten.” She spends most of her time alone. When the wizard Ged comes to steal a treasure from the gods, Tenar ends up helping him escape in defiance of both the temple priestess Kossil (a sort of intermediary adversary) and the Nameless Ones themselves (the real terror). She fights against becoming lost in the labyrinth, and the onset of despair. She also helps Ged restore a sacred artifact that might benefit the whole world. When she finally emerges from the underground tombs, with Ged’s help, the entire system crumbles into dust as the Nameless Ones are defeated.

The City of Lost Children is such a strange, dreamlike movie that I had a hard time discerning the plot enough to decide if it qualified as a Girls Underground story. Ultimately I consider it an Honorable Mention, simply because the girl in question isn’t really the clear protagonist for much of the movie – in fact, it seems at first that this is more of a story about her companion, or that she is the companion. But, it also hit some salient points.

Miette, a young orphan, is part of a gang of child thieves living in a dark, disturbing urban landscape. One day she rescues a carnival strongman named One and gets pulled into his quest to find and save his adopted little brother, who has been kidnapped by an evil man who sucks the dreams from children. At one point, due to a mind-controlling poison, One turns against her, which is the classic betrayal-by-companion. She also acquires at least one other companion for a time. There are multiple smaller adversaries but I think the dream-stealer is the main one, and Miette ends up confronting him alone in the dream realm and defeating him.

 

Tabula Rasa (the Belgian tv series on Netflix) is perhaps the defining example of the sub-trope of “forgetting herself” in the Girls Underground archetype – its protagonist Mie has retrograde amnesia; she can’t remember anything, and it may be her downfall.

Mie, an adult, has suffered memory loss due to a car accident. As she sits in a mental hospital, suspected in the disappearance of a man she can’t remember, she slowly pieces together the events that led there. Her family can’t be trusted – she is on her own. Her daughter has been acting disturbingly since the accident and she may have to save her. Her companion in the present is a pyromaniac who befriends her on the ward – in the past, it is the man she may have killed. Time is running out as we find out that he may still be alive, and she must remember in order to help him.

Because of the mystery angle to this show, we don’t discover who the real adversary is until the last episode. And unfortunately, Mie does not defeat them herself, meaning that this is more of an honorable mention, all told. But there is a betrayal by a companion, a return to home (in the form of many flashbacks, and when Mie briefly escapes), and of course, she forgets herself. Not to mention, it is a pretty engaging story, and pretty terrifying to imagine being that adrift from moment to moment.

NB: I highly recommend watching the MST3K version of this movie if you feel some strange desire to watch it at all, because then at least there will be comedic commentary alongside this utter dreck. This ended up being only an Honorable Mention, so not really worth the agony – but I’m here to take the bullet by watching all potential GU movies in the interest of research!

Alien From L.A. (1988) stars Kathy Ireland as Wanda, a resident of Los Angeles with an inexplicable and extremely annoying squeaky voice. After being dumped by her boyfriend, she finds out that her archaeologist father has died while exploring in North Africa. She travels there to sort out his affairs only to discover his notes about Atlantis (which was apparently a UFO which crashed and sunk). Wanda finds a hidden chamber underneath her father’s apartment and down she goes into the underground!

Deep beneath the surface, she discovers her father is being held and tortured as a spy. She enlists the help of a miner named Gus and a rogue named Charmin to help rescue him. She also manages to go from supposedly “nerdy” to supposedly “hot” along the way, completing the most ridiculous and superficial of GU transformations. Wanda herself is also now being pursued by the same Atlantean government agents who are holding her father, as well as minions of a crime lord (played by future Oompa Loompa Deep Roy!).

Eventually she is captured by a general, and her companions fight the evil forces so she and her father can escape (so, no real one-on-one showdown with a singular Adversary). She returns to L.A. and hangs out at the beach in a bikini (because now she is hot).

The Eye of the North by Sinead O’Hart makes a promising start as a Girls Underground premise, but ultimately only registers as an Honorable Mention due to the fact that most of the time, she is separate from her “companions,” and the lack of a definitive one-on-one showdown with the Adversary (in part because there are too many Adversaries!).

Emmeline’s world changes one day when her distant, negligent parents disappear, presumed dead, and she is shipped off to Paris to live with a relative. On the boat there, she encounters a plucky street kid named Thing, who becomes a companion of sorts, though they are soon separated and he goes on a parallel journey toward the same goal. Emmeline discovers that her parents were involved in a secret organization, attempting to thwart a madman who is trying to raise the kraken from the northern ice so he can control it and rule the world. She encounters allies and many new adversaries (each also trying to gain control of the kraken) as she repeatedly escapes and is recaptured on her way to rescue her parents. There is a moment at the end where she realizes that she has the power, but overall I still felt that it wasn’t quite a full GU story. Entertaining, but a bit too much going on as well, so many interesting concepts (like the Northwitch, made of ice) were not fully explored.

An exploration of story…

In which I describe examples of the Girls Underground archetype that I have discovered in literature and film. For more information regarding the concept, including its earlier incarnations in fairytales and mythology, visit the pages linked above. Here is a list of all the examples I have covered thus far.

The Oracle


THE GIRLS UNDERGROUND STORY ORACLE - tapping into the Power of Story for guidance and insight. Learn more here.

Alice Days

Celebrate one of the primary inspirations for Girls Underground - Alice in Wonderland - with a holiday down the rabbit hole and through the looking glass! Check out the Alice Days page for party ideas, movie recommendations, and more.

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