This paper was a semester long project intended to view the world around us through the lens of feminism. In order to make changes in how we see women in our society and what role they play, you first must understand how gender is constructed. In this paper I used the blockbuster hit 'Million Dollar Baby' for my focus. I earned an A for this course (Sex, Gender, Culture)

1. Running head: Million Dollar Baby 1
A Feminist Critique of Million Dollar Baby
Jennifer M. Bigham
Stark State College

2. Million Dollar Baby 2
In our critical essay assignment we were asked to analyze an artifact, in our case a film,
through the lens and methodology of Feminist Criticism. The artifact I chose was the popular
boxing film, Million Dollar Baby (MDB.) At first glance when this film premiered in 2004, I
assumed I would see the typical “feel good” feminist portrayal of a strong, independent, “hard-
hitting” woman intent on achieving her life-long goal of becoming a professional boxer; but after
watching it repeatedly through the eyes of an educated feminist I realize this was not the case at
all. During my analysis I plan to show how masculinity and femininity are constructed in this
film, how MDB upholds the normalized power structures of gender, what the implications of
those constructions are, and who they serve.
Artifact
MDB is about Maggie Fitzgerald (Hillary Swank), a 31 year old waitress and aspiring
boxer who strolls into a boxing gym owned by an aging veteran boxing trainer Frankie Dunn
(Clint Eastwood.) Maggie tries relentlessly to convince Frankie to train her but Frankie continues
to push her away because as Frankie states in the opening scene of the film “tough and ‘girlie
tough’ aren’t the same thing.” Eddie Dupris (Morgan Freeman), finally convinces Frankie to take
Maggie under his wing to teach her the ropes of professional boxing. During this time Frankie
and Maggie find in each other what they were both lacking in their own personal lives,
unconditional love and understanding. The movie depicts Frankie as having an estranged
relationship with his biological daughter, to whom he writes daily. Unfortunately, for Frankie,
his letters are all returned unopened. Similarly, Maggie comes from a poor, highly dysfunctional,
fatherless family from the trailer parks of Missouri. As the movie progresses you start to see the
daughter/father relationship start to blossom between the two main characters.
Throughout the movie we see Maggie struggle against amazing odds to achieve her life
goal of becoming a successful boxer. Fight after grueling fight, we watch as Maggie makes her
way to the cherished World Championship Title Fight. Then tragedy strikes during the climax of
the movie. During the title fight Maggie’s opponent throws an illegal punch which leads Maggie
falling to the mat but not before striking her neck against the corner stool, resulting in her
becoming a quadriplegic. Frankie feels enormous guilt over Maggie’s medical situation and
vows to help in every way possible to keep her in good spirits. We see throughout this part of the
movie how attentive Frankie is towards Maggie. Since her family is of no financial or emotional
support, she relies on Frankie for her every basic need. One night Maggie’s bedsores become so
infected the doctors make the difficult decision to amputate her leg. Maggie worries they will
start to chip away at all she holds dear, her body. During this time we see Maggie slip into a
severe depression which culminates with her asking Frankie for the unimaginable, his help in
ending her life. Frankie, a devout Catholic, struggles with this ethical and moral dilemma but
ultimately he rescues her by ending her life. This is the last we see of Frankie who disappears,
never to be seen or heard of again.

3. Million Dollar Baby 3
Method
Sonja K. Foss’s explains in her 3rd Edition of Rhetorical Criticism: Exploration and
Practice “using the feminist method of criticism, a critic analyzes an artifact in a four-step
process: (1) selecting an artifact; (2) analyzing the artifact; (3) formulating a research question;
and (4) writing the essay.” During this analysis process, she sates a “Feminist criticism involves
two basic steps: (1) analysis of the construction of gender ─or whatever aspect of identity is your
focus ─in the artifact studied; and (2) exploration of what the artifact suggests about how the
ideology of domination is constructed and maintained or how it can be challenged and
transformed.” (Foss, 2004) How I plan to use what I’ve learned from Foss’s feminist criticism, is
to explore the patriarchal dominance of the film, challenge the status quo and look to the future
for ways to improve upon this rhetoric.
Analysis of Gender
The construction of gender is where I begin my analysis. In the film, masculinity presents
itself as patriarchal dominance. Frankie is introduced to the audience as a “man’s man”,
equipped with the ever present brooding personality. A man staunch in his belief that the boxing
ring is no place for a woman. He purposefully overlooks Maggie’s desires and talent to become a
prized professional boxer due to his convictions. As the owner of a boxing gym, Frankie has
positioned himself from a place of power and omnipotence. We see this power dynamic
throughout the film between Frankie and every character, but especially with Maggie. She is
constantly seeking Frankie’s approval, like a daughter would with her own father. She yearns for
Frankie to train her because she knows he’s the best. She is the first in the gym and the last to
leave every night. She would rather die, than to let Frankie down. She looks to him for her
necessary training and after her tragic accident, she continues to look to him for his support.
Always looking up to the all-knowing white male.
As seen in the pictures below, the power dynamic of the white male father figure is ever
present.

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According to the article, “Representing the Female Pugilist: Narratives of Race, Gender,
and Disability in Million Dollar Baby,” the author’s quote the feminist and social activist bell
hooks by arguing “that patriarchy reproduces its hierarchical power structures by inviting the
subordinated other to ‘find ultimate pleasure, satisfaction, and fulfillment in the act of
performance and submission’ to white men. She uses the phrase ‘doing it for daddy’ to describe
situations where racial and gender hierarchies are reproduced through popular representations of
white women and black men in relation to white males.” The authors go on to conclude that in
relation to MDB, “hooks’ “doing it for daddy” is useful in exploring the simultaneously
gendered and racialized aspects of the complex relations among the film’s three central
protagonists in which, we argue, Frankie fulfills the role of the white father” (Ellexis Boyle,
2006)
During the scene in which Frankie reluctantly decides to train Maggie as a professional
boxer he specifically says to her in his gruff voice “If I take you on, you don’t question me and
I’m going to try and forget that you’re a girl!” My first reaction to this statement is “Why?” Why
does he need to forget that Maggie is a girl, or rather a woman; and why is she not allowed to
question him? Is it because he is more knowledgeable about boxing or is it because he is a man
and she is a submissive woman. This propagates the societal norm that women shouldn’t
question the intellect of a man and further supports the patriarchal power dynamic that she is to
worry about nothing else but pleasing him. Throughout the film we hear both Frankie and Eddie
refer to Maggie as “the girl,” never really using her given name. I feel this is a way to reduce
Maggie to nothing more than her given sex. In class we discussed how powerful our language is
and how we name what we feel is important and relevant, by calling Maggie “the girl” they are
taking away that relevance and importance. A way to belittle her based on her sex.
Femininity is presented very little throughout MDB. In fact the movie screams of
testosterone and masculinity. Since the film positions us from the perspective of a man, it is easy
to understand why femininity is presented very little or even presented in a positive light. In fact,
the only scene in which we see a glimpse of femininity is when Maggie visits her mother and
sister in Missouri to explain to them about her boxing career. Even then the femininity that is
presented is through her mother and sister. The women are both wearing make-up, jewelry and
female gendered clothing however the femininity presented has a negative connotation to it.
Maggie’s mother and sister are both uneducated, poor, and react in a hateful manner towards
Maggie, thereby leading the audience to react negatively towards the only femininity presented
in this film. Maggie on the other hand is presented as a middle aged woman, trying to enter the
world of boxing. Boxing is all she cares about to which we see evidence of this through her
outward appearance.
MDB depicts Maggie with female masculinity. She is slight but muscular, wearing
nothing but sweats, ragged t-shirts, torn jeans, and in only one scene did we see her wearing
somewhat of a feminine top. Her hair is barely washed and combed and her face is free of make-
up or jewelry. In fact, her outward attitude and appearance is more masculine than feminine. Her

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fights are physically gruesome, with the typical blood and bruises we see in boxing films. Boyle,
Millington and Vertinsky stated in Representing the Female Pugilist “It is perhaps the only film
other than Girlfight (2000) to subject an audience to the full force of the women’s punches and
graphic displays of broken noses, bruised bodies and bleeding eyes, as they battle it out to the
bell. From this angle, Maggie can be read as supporting the disruptive aspects of women’s
boxing that evoke hostility precisely because fighting women dispel the myth of female passivity
through the public demonstration of their speed, strength, agility and courage- attributes typically
associated with men.”(Ellexis Boyle, 2006) Maggie demonstrates femininity in different ways.
She is determined, goal oriented and courageous. Why in 2016 can we not associate these
characteristics as feminine as well as masculine? The film challenges the status quo of these
characteristics and also questions the willingness of the audience to “think outside the gendered
box” of what is acceptable feminine and masculine qualities.
As we see in the pictures below, her femininity isn’t displayed through her dress or
appearance but rather in her strength of character.
Discussion
This film touched on many social subjects. We were advised to focus more on gender
however, I would be doing a disservice to my paper to not mention the other topics this film also
had an impact on; Race, a person’s ability and the controversial topic of choosing to end one’s
life (Death with Dignity.) Race was depicted much the same way in reference to “doing it for
daddy.” Eddie (an African-American) is subservient to Frankie throughout the movie. Playing
the role of Frankie’s conscience, Eddie takes on the task of persuading Frankie to help Maggie in
her career. Always serving the white man, and yet getting limited credit for his work. Eddie, who

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is Frankie’s janitor and workhorse, keeps everything going at the gym while Frankie busies
himself training and later caring for Maggie after her accident.
When referring to Maggie’s accident, we see a woman full of life and at the top of her
game when tragedy strikes and she loses everything. Her health, her leg, and later her life. When
Maggie tragically loses her ability to ever walk again, let alone fight in the ring she falls into a
deep depression in which she finally begs Frankie to help her by ending her life. Why was
Maggie so disgusted by her own body that she was willing to take her own life? Did she not see
herself as a valued human worthy of a life full of love? We can see her struggle with her own
emotions through this portion of the film.
I liked the fact that this film brought about conversations of ability and Death with
Dignity. Back in 2004 these were topics not often discussed within the public domain, let alone
through the profitable eye of Hollywood. At the time of production the only state in the U.S. that
had a Death with Dignity law on the books was Oregon. Since the movie was released we now
see 3 other states to enact such controversial laws; Washington (Washington Death with Dignity
Act; 2008), Vermont (Patient Choice and Control at the End of Life Act; 2013), and California
(End of Life Option Act; passed in 2015, not yet in effect) According to deathwithdignity.org
“Death with Dignity laws stem from the basic idea that it is the terminally ill people, not
government and its interference, politicians and their ideology, or religious leaders and their
dogma, who should make their end-of-life decisions and how much pain and suffering they
should endure. (Death With Dignity, n.d.) The impact of the film on this topic is far reaching. It
started the conversations needed to bring about change in how we see those of less ability than
ourselves as well as those willing to take their own lives in terminal situations.
Conclusion
In conclusion, the impact of how masculinity and femininity are presented in block buster
movies within the realm of Hollywood, are of a lasting sort but something we can learn from.
Watching this movie in 2004 and then again in 2016, I’ve realized the changes within myself,
and within society. But those changes aren’t enough. If we continue down this road of
reinforcing the imposed societal norms in regards to gender, race and ability, nothing will ever
change. Our job, as educated feminist, is to challenge the status quo, the societal norms and to
beat down the preconceived notion that if you go against the grain, you are considered an
outsider. I plan to use Feminist Criticism within my everyday life. Changing how we think and
react to the constant oppression around us is crucial if we expect a different world for our sons
and daughters. To view my surroundings from the lens of equality. As Albert Einstein once said:

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Works Cited
Death With Dignity. (n.d.). Retrieved April 25, 2016, from Death With Dignity Acts:
https://www.deathwithdignity.org/learn/death-with-dignity-acts/
Eastwood, C., Swank, H., Freeman, M., Ruddy, A. S., Rosenberg, T., Haggis, P., Toole, Warner
Home Video (Firm). (2005). Million dollar baby. Burbank, CA: Warner Home Video.
Ellexis Boyle, B. M. (2006). Representing the Female Pugilist: Narratives of Race, Gender, and
Disability in Million Dollar Baby. Sociology of Sport Journal, 99-116.
Foss, S. K. (2004). Rhetorical Criticism: Exploration and Practice (3rd ed.). Long Grove,
Illinois, USA: Waveland Press, Inc. Retrieved February 2016