New mother Jane (Alexandra Loreth) and her husband, John (Joe Mullins), are traveling, as the film opens, by horse-drawn coach to the remote country house they’ve rented for the summer, for her rest cure. This is a stiflingly literal mounting of Gilman’s words that lacks any appreciation of both the wider cultural context in which those words were written and the narrow literary conceit of the story’s unreliable narrator. (Gilman based the story on her own experiences after giving birth.)Īn incisive film adaptation of this groundbreaking story - one that captures the quiet horror of how the world has in the past and still today fails to acknowledge that women have inner lives that need nurturing - would be very welcome. ![]() This is as true today as it was in 1892, when feminist author Charlotte Perkins Gilman published her best-known work, short story “The Yellow Wallpaper.” It is the tale, told in the form of diary entries, of a woman descending into apparent psychotic madness after her doctor-husband prescribes a socially isolating, intellectually stultifying “rest cure” during a bout of what we would recognize today as postpartum depression. The patriarchal bullshit of the world drives women crazy.
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