“As the Bechdel Test began to creep into the sightline of mainstream movie criticism, it was notable to see the surprise of some male critics that their favorite movies—One Flew Over the Cuckoo’s Nest, Goodfellas, The Princess Bride, Clerks, the original Star Wars trilogy, the entire Lord of the Rings trilogy, and even Tootsie, when you get right down to it—so soundly flunked it. For many women, the reaction was more of a shrug, along with relief that, finally, there was a simple way to help writers and directors step over an embarrassingly low baseline. To be clear, applying the rule isn’t about snatching away the well-earned status of Raging Bull or The Godfather or even This Is Spinal Tap. As Anita Sarkeesian, creator of the Web site Feminist Frequency, noted in a 2009 video about the rule, “It’s not even a sign of whether it’s a feminist movie, or whether it’s a good movie, just that there’s a female presence in it.” The latter point is something that many people fail to grasp when trying to explain away why their favorite movies don’t pass the test (“But Batman is the hero of the movie! Of course the women characters are going to talk about him!”): the Bechdel Test is not a judgment of quality or nuance. After all, the beautiful, moving Gravity fails the test, while a formulaic rom-com like 27 Dresses passes with no problem. But the test itself is a simple, bloodless assessment of whether female characters are deemed important to a story—and a way to conclude that, most of the time, they aren’t.”
— We Were Feminists Once: From Riot Grrrl to CoverGirl®, the Buying and Selling of a Political Movement (Zeisler, Andi)
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