And LUCY, though much more intelligent than Lucy, still doesn’t meet the requirements of a protagonist. In fact, Lucy doesn’t even really live long before she is reborn as LUCY, a psuedo-human, hyper-intelligent, ever-evolving force that cannot be defeated. There were quite a few faults with the movie, including the logic jumps that didn’t always make complete sense, the almost total disregard for the separation of national police forces in Europe or how air-travel works (Lucy never used a passport, which I didn’t understand), the fact that it barely passed the Bechdel test (I didn’t think it was going to make it) and the ridiculous Asian villains.Īnd then there is the other major problem that the whole “We only use 10% of our brains” thing is a myth but we’re not going to go there.īut what really made me upset about this film was that Lucy was not a real protagonist. Instead, I left the film slightly disappointed. It should have been one of my favorite movies of the year. As a result, her brain capacity rapidly increases over a 24 hour period. She is then kidnapped and attacked resulting in that bag opening and seeping into her system. The character Lucy is forced into becoming a drug mule by having a bag full of volatile drugs inserted into her body against her will.
Lucy (2014) is a sci-fi thriller that features an eponymous female protagonist.
Lucy and Why Female Protagonists Have To Be More Than Female Lucy causes me to ask one of the enduring questions of my intellectual life, “why have no Octavia Butler heroines been translated to the silver screen?” Like my student, I think surely Lillith ( Xenogenesis Triliogy) or Lauren ( Parable of the Sower) with their actual substance and purpose trump Lucy? Perhaps those are questions it will take more than 10% of our brains to answer. This would usually mean a sequel, but there is not much left to work up into part deux. As a media scholar, I always pay attention to the numbers and noted that the world-wide box office for Lucy was at least 10 times its budget. I shared this young woman’s disappointment at the plastic role of Lucy and the lack of attention to characterization. I came upon a review for Luc Besson’s Lucy (2014) written by a scholar in my Butler’s Daughters class at Spelman College. Instead of marking the occasion with my own reflections of Butler, I thought I’d share some of my students’ writings. This would have been Octavia Butler’s 68th birthday.
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