In the wake of 2019’s gender-swapped remake, What Men Want, starring Taraji P. Henson, curiosity naturally turns back to the original 2000 film, What Women Want. The premise is simple yet fantastical: Mel Gibson’s character suddenly gains the ability to hear women’s thoughts. But does this turn-of-the-millennium romantic comedy hold up today? Is it a nostalgic trip worth taking, or better left as a relic of its time? Let’s delve back into What Women Want to see how it fares in the modern era, saving you the effort of revisiting it yourself.
Datedness: A Product of the Year 2000
Yes, without a doubt, What Women Want is firmly rooted in the year 2000 – feeling almost like a movie from the 80s in retrospect. In a pre-ubiquitous cellphone world, the plot hinges on the now-archaic answering machine. While Gibson’s character, Nick Marshall, does briefly use a brick-like mobile phone, it’s the reliance on landlines and answering machines that immediately dates the film. The fashion, too, screams early 2000s, with Gibson parading through scenes in an array of questionable leather jackets, trench coats, and those boxy power suits that were briefly in vogue.
Perhaps most jarring to a contemporary viewer is the casual and frequent smoking by Gibson’s character. In a 2019 context, where What Men Want humorously referenced illicit substances but steered clear of cigarettes, the prominent smoking in What Women Want is a stark reminder of how much societal norms have shifted. It’s a detail that underscores the film’s time capsule nature, reflecting a period when smoking in mainstream movies, even by the protagonist, was unremarkable.
Gender Politics: Not Great, But Not the Worst
Acknowledging the premise upfront, What Women Want does operate on a somewhat patronizing idea: that in the year 2000, a movie needed to highlight women as a significant consumer group. However, beneath this potentially shallow surface lies a narrative about a deeply flawed, “toxic” man undergoing a transformation. The film, to its credit, does attempt to dissect some of the more damaging aspects of traditional masculinity. Overt sexism is generally portrayed negatively; the audience is meant to recognize Nick Marshall as an “asshole” when he makes condescending remarks to female colleagues or uses derogatory terms. His absentee father behavior and superficial treatment of women are also clearly depicted as flaws.
However, the film’s exploration of gender dynamics isn’t without its problematic moments. Marisa Tomei’s character initially declines Nick’s advances, but upon him gaining mind-reading abilities, her internal thoughts reveal a less firm “no.” In a post-#MeToo era, this scenario is unsettling. It blurs the lines of consent and suggests that “no” might not always mean “no,” a message that feels decidedly “icky” to watch now. Furthermore, the core concept of using mind-reading to seduce women is inherently a violation of consent. Even the comedic trope of Nick pretending to be gay to avoid a woman feels outdated and offensive, rather than humorous.
While Nick’s relationship with Helen Hunt’s character, Darcy, is built on deceit – a common rom-com trope – the film does suggest that he genuinely develops respect for her by the end, which is a small redeeming feature. Nevertheless, the shadow of Mel Gibson’s off-screen controversies – his anti-Semitic remarks, accusations of sexism, racism, and domestic abuse – inevitably colors the viewing experience. It’s understandable if modern audiences find it difficult to fully embrace his portrayal of a charming romantic lead.
The subplot involving Nick’s teenage daughter also presents outdated gender stereotypes. Reflecting a pre-Blockers mindset, the film touches on the trope of fathers policing their daughters’ virginity and perpetuates the retrograde idea that older boys are only interested in young women for one thing. While this storyline isn’t heavily emphasized, it contributes to the film’s overall dated feel in terms of gender politics.
An Absolutely Bonkers Cast
One undeniable strength of What Women Want is its incredibly eclectic and talented cast. Beyond Gibson and Hunt, the film boasts a remarkable ensemble including Alan Alda, Mark Feuerstein, a young Sarah Paulson in an early role, a brunette Judy Greer, the legendary Bette Midler, Delta Burke, Lisa Edelstein, Ana Gasteyer, and Loretta Devine. It’s a true testament to the casting director that so many recognizable faces populate this film. Even Eric Balfour, typecast as the bad-boy boyfriend, appears, foreshadowing his similar roles in Six Feet Under and The O.C. The sheer depth of the supporting cast is genuinely impressive and adds a layer of entertainment regardless of the film’s other shortcomings.
Reflection and Unease
Beyond its dated jokes and gender politics, What Women Want inadvertently raises uncomfortable reflections on Hollywood’s treatment of women’s careers. Helen Hunt, the female lead, experienced a significant career downturn after 2000, a trajectory seemingly common for women in Hollywood, irrespective of scandal. This starkly contrasts with Mel Gibson, whose career, despite controversies, has seen resurgence and awards recognition. The film also features several other actresses, like Lauren Holly and Ashley Johnson, whose once-prominent careers seemed to fade. In the #MeToo era, such career trajectories are viewed with increased skepticism, prompting questions about ageism, general Hollywood mercilessness, and the potential sabotage of women’s careers by powerful men.
The Excess of the Ad World: Did These Jobs Ever Exist?
What Women Want portrays a mid-level advertising executive, Nick Marshall, as having an astonishing number of assistants – seemingly three. Delta Burke and Valerie Perrine appear to work exclusively for him, in vaguely defined roles, while Sarah Paulson’s character also performs menial tasks for him, much to her resentment. Judy Greer’s role also revolves around assisting Gibson, handing out papers and serving him. This depiction of a mid-level executive commanding such a large support staff feels excessive and anachronistic, even for the year 2000. It prompts questions about whether such roles truly existed in advertising agencies and reflects a pre-2008 recession, pre-monoculture corporate world that likely looks vastly different today.
Corny Music and Nancy Meyers “Lite”
The soundtrack of What Women Want is heavily reliant on Rat Pack-era music, inexplicably presented as synonymous with a hip, urban New York City vibe in 2000. This musical choice adds to the film’s overall corniness. Brief moments of contemporary music from artists like B*witched, Meredith Brooks, and early Christina Aguilera offer fleeting respites from the dated soundtrack.
While Nancy Meyers directed What Women Want, it feels like a lesser version of her signature style. It lacks the extravagant interiors and strong female leads that define her more iconic films like Something’s Gotta Give and It’s Complicated. This difference likely stems from What Women Want being the only film she directed but didn’t also write. In essence, What Women Want offers minor amusement in watching Mel Gibson “read” women’s minds, but ultimately, it’s Nancy Meyers’ own mind that remains the more intriguing subject.
Conclusion: A Time Capsule with Caveats
What Women Want is undeniably a product of its time. While it attempts to grapple with gender dynamics and features a stellar cast, its datedness, problematic gender politics, and the shadow of its lead actor’s controversies make it a rom-com that requires significant caveats for modern viewing. It serves as an interesting, if somewhat uneasy, time capsule of the year 2000, prompting reflection on how much societal norms and Hollywood itself have changed.
