For today’s film about women’s exploitation and revenge, I’m covering the 2006 film All the Boys Love Mandy Lane (dir. Jonathan Levine), which I view as a rape-revenge movie minus actual rape. Be warned: there is no way to discuss the point of the movie without spoiling the twist ending.
The film introduces Mandy Lane (Amber Heard), a young woman who is a shy loner, but also the object of desire by all the boys at her school. As a teen boy named Red explains to his friends, “There she is boys, Mandy Lane. Untouched, pure. Since the daw of junior year men have tried to possess her, and to date, all have failed. Some have even died in their reckless pursuit of this angel.” The death he refers to occurs in the opening pool party scene, in which Mandy’s best friend Emmet goads a not-too-bright jock into jumping off the roof and into the swimming pool below, because that’s surely what will win Mandy’s heart. Naturally, the jock cracks his head open on the cement edge of the pool, and dies shortly after.
The other noteworthy aspect of Red’s monologue above is the fact that Mandy’s virginity is fetishised. The boys aren’t all that interested in Mandy herself, but merely in being the first one in, if you get my meaning. This conquest mentality is highlighted by the boys’ lack of interest in Chloe, a physically attractive teen who is not desired precisely because she is the “school slut.” Chloe is also eager for Mandy to lose her virginity, probably because this would diminish Mandy’s perceived value in the sexual marketplace of their high school and possibly improve Chloe’s sexual/social capital in the process.
Red invites Mandy, Chloe, and a few male friends for a weekend at a secluded ranch, and in typical slasher film style, the young people are picked off one by one by a killer, who is revealed to be Mandy’s seemingly estranged friend Emmet. Mandy’s “friends” are far more repulsive and unlikeable than most slasher film victims, and I found myself wondering why she agree to the weekend party in the first place. Not only is Mandy more of a “square” than the others (she avoids drugs and alcohol), she is clearly disturbed and angered by the boys’ attempts to seduce her. The seduction attempts, by the way, are clumsy at best, and harassing and borderline rapey at worst.
Then we get to the strange Columbine-ish twist, in which it is revealed that Mandy and Emmet are working in cahoots. Honestly, I didn’t expect the twist, because it goes against slasher film tropes for the Final Girl to also be the killer. This twist can be more fully appreciated on a second viewing, because what first seemed to be shyness on Mandy’s part was actually thinly concealed contempt for her shallow peers, and her “innocence” was in reality coldly calculating. Mandy and Emmet have a suicide pact following the murders of the other teens, but Mandy has no intention of following through on her end of the bargain. Instead, she seems to view Emmet as yet another boy who is desperate to conquer or possess her to his own end. Mandy dispatches Emmet, setting him up to be blamed as the lone killer in the process, and making herself appear as the conventionally heroic Final Girl.