A new musical interpretation of the classic film “Gone With the Wind,” opening on London’s West End later this month, depicts Scarlett O’Hara not as the mercurial Southern belle we’ve known for decades, but as a frazzled single mom. Just wait till the grievance industry discovers the endless possibilities of victimological reinterpretation.
Rebel Without a Cause — James Dean’s archetypal rebel Jim Stark turns to juvenile delinquency not merely because of a dysfunctional family and the social pressures of adolescence; rather, he’s a victim of the soullessness and material focus of postwar America’s bourgeoisie.
Psycho — Norman Bates becomes a killer not because of innate evil, but because of his overbearing, abusive mother. … This is a technical twist on the model of victimology — it’s forensic psychology!
A Streetcar Named Desire — Blanche DuBois’ mental illness is, in truth, the only rational response to patriarchy. The system, not Stanley, is the real rapist.
Sunset Boulevard — Actress Norma Desmond is not cuckoo because she’s addicted to the spotlight and hung over from its withdrawal. She’s the victim of a Hollywood system that, to this day, values women actors only for their cosmetic appeal.
Scarface — Tony Montana is no longer an opportunistic criminal; instead he’s an aspiring entrepreneur who chooses the drug underworld because it’s the only path open to a poor immigrant. Hold up: No “re”-interpretation necessary here.
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