The film Calandar Girls is far from an exaggerated true story. It is more of an account of how the celebrity machine operates for the primary purpose of profit via consumerism. In other word, the novel idea of a 'calendar girl' born out of 'celebrity culture' , which is then blown out of all proportion, and subsequently relies on the nihilistic consumer culture to gain further celebrity and profit.
As it's for and by the Womens Institute (WI) the 'calendar girl' world, traditionally applied to glamour modelling is now revised as an art form which is acceptable for their class, with the inadvertent addendum of serving the purpose of maintaining the sensibilities of society's conditioned perceptions. This is supposed to bestow on the older woman a long, overlooked, neglected value. Ironically these women are captured within the calendar in traditional white middle class roles, such as flower arranging, and cake baking. As such the calendar reinforces the white, middle class women stereotype and roles, as opposed to empowering them.
These white middle class women are traditional conservative stereotypes, who carry on that most Tory of traditions, which is philanthropy. Therefore, they raise money for 'good causes' which are reliant on charity as opposed to the misanthropic state, via a constructive tax system, which is ironically enforced via democracy, by these same altruists.
As for the acting, it was not too difficult a role for Julie Walters, who bodes well with this type of acting part, while the rest of the cast were like the calendar girls they played, on a promotional quest of themselves, and their talents. However, the former attribute of these actors undermined the latter.
Likewise the beauty of Yorkshire was promoted via the prism of a camera lens to show off the region's glorious beauty, with a sprinkling of urban style crime crossing into country life by way of a gullible marijuana smoking youth. Multiculterism is also contextualised within white, middle class rural northern England with a character of mixed ethnicity.
In sum, this film is a portrait of nihilistic celebrity culture and consumerism, and societies' accepted dependency on philanthropy and good will.
As it's for and by the Womens Institute (WI) the 'calendar girl' world, traditionally applied to glamour modelling is now revised as an art form which is acceptable for their class, with the inadvertent addendum of serving the purpose of maintaining the sensibilities of society's conditioned perceptions. This is supposed to bestow on the older woman a long, overlooked, neglected value. Ironically these women are captured within the calendar in traditional white middle class roles, such as flower arranging, and cake baking. As such the calendar reinforces the white, middle class women stereotype and roles, as opposed to empowering them.
These white middle class women are traditional conservative stereotypes, who carry on that most Tory of traditions, which is philanthropy. Therefore, they raise money for 'good causes' which are reliant on charity as opposed to the misanthropic state, via a constructive tax system, which is ironically enforced via democracy, by these same altruists.
As for the acting, it was not too difficult a role for Julie Walters, who bodes well with this type of acting part, while the rest of the cast were like the calendar girls they played, on a promotional quest of themselves, and their talents. However, the former attribute of these actors undermined the latter.
Likewise the beauty of Yorkshire was promoted via the prism of a camera lens to show off the region's glorious beauty, with a sprinkling of urban style crime crossing into country life by way of a gullible marijuana smoking youth. Multiculterism is also contextualised within white, middle class rural northern England with a character of mixed ethnicity.
In sum, this film is a portrait of nihilistic celebrity culture and consumerism, and societies' accepted dependency on philanthropy and good will.