Wife Of The Skies

by Honey Lauren



"The only victory over love is flight."

                                                                                                         Napoleon Bonaparte




Wife of The Skies is a comedy film with feminist content. However, it appears difficult to place it in any subcategory of comedy films. There are romantic elements in the film, but we cannot define it as a complete romantic comedy since its philosophical purpose is more dominant than its emotional purpose and its humorous purpose. The hero in the film sometimes looks like a "confused fool," but we cannot fully mention the screwball comedy genre. The reason is that the hero's foolish behaviors result from not being able to believe rather than incompetence or incomprehension. However, this is a comedy, and the difficulty of placing it in any subcategory should be considered as a success, not a deficiency, for Honey Lauren, who wrote and directed the movie.


Another achievement of Honey Lauren is that she selected the right materials to make a film with a feminist message. Stewardesses are among the occupational groups that are most shaped with their appearance, behavior, and quality of work by male ego, male desires, and tastes. We can refer to a similar case for women who perform their profession in front of the camera. Honey Lauren combines these two groups in her film to set forth a good product. In her own film, she creates a nice plot by having a sensual journalist try to shoot a documentary about stewardesses, whose beauty, cuteness, docility, and, naturally, sexiness are not deniable. When we start familiarizing ourselves with the lives of stewardesses while the documentary is shot, we see some scenes in which girls get themselves tied up in a thread-tying style called 'Kinbaku,' which spread from ancient Japan to the world and became a part of the BDSM culture. We should mention that it was a clever move to emphasize how the aesthetic and behavioral patterns imposed on women actually turned them into passive objects and how they stressed and oppressed them. It presents a surprising and striking picture that the audience does not expect.


The pace of the film is generally reasonable, but the point where the hero's feelings turn from lust to love is reached very fast. The longer depiction of the transformation could have increased the pleasure we took in watching it. Because the story of the film takes place in 1965, there are sections where the images shot with a camera used at those times are included in the film, which supports cinematography. Moreover, natural acting nourishes the perception of reality. The cute, sweet, attractive, and seductive feelings emerging with the colors and fonts used in the title sequence develop and continue in harmony with the music. I assume it would be correct to say that the argument 'everything a woman's hand touches softens and becomes more beautiful' will make us not feminist but romantic.