She’s The Man (2006), Andy Fickman’s film adaptation of William Shakespeare’s comedic play, Twelfth Night, breathes new life into the character of Viola, as a sporty teenage girl in the modernised world of the 21st century. Whilst both female protagonists share a plethora of commonalities, such as their engagement in cross-dressing as a form of disguise, Fickman’s adaptation exploits the conventions and normalities typical of the teen film genre of its time. Through the reconstruction of Viola, Fickman branches away from Shakespeare’s original views and values, manifesting his own underlying conservative lens on the common concepts of disguise, gender constructs (including the fluidity of gender), as well as feminism – all of which culminate into a social commentary quite different to that of Twelfth Night.
In Twelfth Night, Shakespeare examines the realities of gender roles through the use of cross-dressing. He does this to achieve two things; to convey that gender is an interchangeable, and arbitrary social construct, and secondly, to make known the unwinding of the association between one’s gender and one’s character. Viola’s pageboy disguise as Cesario is androgynous, yet believable. The entirety of the play is imbued with this dramatic irony in which all the characters believe that she is a man despite her feminine features – which the audience knows is as result of her true gender beneath. Malvolio describes her as thus; “Tis with him in standing water, between boy and man.” It is in Viola’s successful transvestism that allows her the opportunities to cross social stations, embody the driving force of her destiny, and therefore displays the shifts in power as a result of her gender fluidity. As the audience is seldom exposed to distinct, apparent genders, Shakespeare applauds Viola’s/Cesario’s ability to remain true to herself despite her ambiguity shown in her unconventional relationship with her master, Duke Orsino. The Duke nurtures a close bond with his loyal page boy, before Cesario’s true identity is even revealed. When Sebastian returns, unwinding the chaotic plot and revealing the truth, Orsino’s perception of both Cesario – his loyal page boy, and Viola – a woman, merge to manifest an ambiguous product of his desires; “And since you called me “master” for so long,/Here is my hand./You shall from this time be/Your master’s mistress.” Despite this unconventional exploration of transgression, Shakespeare ultimately ends the play with marriages, or rather, homosexual couplings. in order to return to the appropriate social boundaries of the Elizabethan era. However, through the transvestism of Viola, Shakespeare spreads an overarching commentary on the power of gender fluidity, and the influence of one’s identity rather than out appearance.
Contrastingly, Fickman’s, She’s The Man examines a more comprehensive, conservative approach to the cross-dressing of Viola as Sebastian. The casting of famous teen actress, Amanda Bynes is a fitting choice considering the intended demographic of the audience – teenagers. Bynes’ goofy, caricatured portrayal of a masculine disguise not only serves a source of humour, but also advances Fickman’s ultimate conservative view on the concept of gender. The director delves away from Shakespeare’s original concept of sexual ambiguity, and gender fluidity, but rather places emphasis on the clear belief of gender roles and ensures a concrete heterosexual coupling. Viola is seen countless times changing between genders, and embodies a transparent, unconvincing performance as her brother Sebastian; she has an inconsistent voice register, is overly sensitive and is oddly fashion-aware when she notices Olivia’s shoes from Anthropologie. Viola’s continuous act is never portrayed in long-held categories of difference in order to establish repeatedly to the audience that, she is in a fact, a girl. Costume is utilised to intensify the effect of juxtaposition, from her body-obscuring boy clothes to tight, flattering feminine dresses. While this major contrast exists, both Shakespeare and Fickman commonly explore the consistent identity of an individual, through their respective constructions of Viola. In Twelfth Night, Viola’s sense of self remains constant throughout the entirety of her disguise, and in She’s The Man, Viola finds it difficult to convincingly uphold her disguise because her true, feminine self instinctively escapes. Ultimately, Fickman firmly suppresses Shakespeare’s exploration of gender as a fluid construct with a conservative social commentary on the importance of gender roles, and his portrayal of what should be a conventional, heterosexual womanhood.
Both texts also explore the concept of feminism in the context of their own respective societies. In Twelfth Night, Shakespeare introduces a world wherein women can grasp control over their own destiny, a concept exemplified by the brave heroine of Viola. This female protagonist is thrusted into an unforgiving situation that has rendered her vulnerable; she is shipwrecked upon the shores of a foreign land called Illyria, and she presumes the tragic death of her brother at sea. Contrary to the social spheres of the Elizabethan era to which women were subjected, Viola acts assertively and seizes her fate for the sake of survival. She disguises herself as a man in order to be received by the court of Duke Orsino; “Conceal me what I am, and be my aid.” While it can be argued that her decision to be Cesario challenges feminism as it implies that only men are to be received, it is still nonetheless an action of boldness and bravery; cross-dressing was considered immoral and sinful and thus was highly condemned. In this act of feminism, Viola not only succeeds in becoming Orsino’s loyal pageboy, but she also denounces the confining social conventions of Shakespeare’s time.