To protect her little sister from the evil clutches of her lustful stepfather, 16-year-old Babydoll takes it upon herself to exact justice by the end of the barrel of a gun. When she fires a round, the bullet ricochets and accidentally kills her sister. Surviving the attack, her stepfather commits Babydoll to Lennox House, an insane asylum where she faces a lobotomy. A lobotomy her stepfather secures with a substantial bribe given to the institutions’s head orderly. Babydoll escapes into her fantasies where they become her reality.
From there we see Babydoll involved in such feats as dragon slaying, Samurai sword fighting, and taking on an entire zombie army with the help of her friends Sweat Pea, Rocket, Blondie and Amber. Together, these girls kick butt to the extreme of awesomeness.
Now, before I go on, I’d like to address an issue. Critics in unison panned Sucker Punch for its numerous scenes of scantly clad women, calling the film exploitative. I happen to disagree. Unlike Black Swan, which critics adored, there is no nudity in this film. On the contrary, this film depicts women as having strength, fortitude and resilience. Since the majority of the film takes place in a brothel, what else should women wear under that employ other than lingerie? Have we forgotten what Nicole Kidman as Satine wore in Moulin Rouge, which fetched her an Oscar nomination?
Played by Emily Browning, star of Lemony Snicket‘s A Series of Unfortunate Events and Ghost Ship, Babydoll yields a traditional Japanese katana sword and a polished nickel-plated Colt M1911A1. To escape her enemy’s attacks, she dodges, performing aerial maneuvers to where she can best execute her counterattacks.
Reminiscent of Inception’s dream within a dream, the best action sequences come from Sucker Punch’s fantasies within a fantasy. Babydoll uses these fantasies to cope with the inevitable reality of her impending lobotomy. Wow, now that was a mouthful. Try to say that three times fast.
However selfish it may seem that Babydoll would rather escape within herself; throughout her fantasies, her fights are noble, just and right. She thinks of her friends first just as she had done when trying to save her little sister from her evil stepfather. Babydoll proves this countless times by deflecting an enemy’s attention from her friends, taking on the burden of their suffering. And as strong as Babydoll appears in her fantasies, the quiet resolve she maintains in reality makes her even stronger. It’s the only way she can face her lobotomy. For it’s with her sacrifice she saves her friends.
Where can we find this kind of devotion in real life? That’s a rhetorical question.
To me, if one were to give their life for a friend, that is the truest form of love anyone could ever possess.
Have you seen Sucker Punch? What did you think of it? Was it as confusing as some critics have made it out to be?