The Bechdel Test, a term coined by cartoonist Alison Bechdel, is a tool used to determine the extent of female representation in fiction and media. The test comprises of three criteria in order for something to pass. The particular subject matter (whether it’s a TV show, a film, a book, or any other type of media) must firstly have at least two female characters, these female characters must secondly engage in at least one conversation, and finally this conversation must be concerning something other than a man. Seems simple enough, right? Well, that’s exactly the point! The Bechdel test is meant to be viewed as a bare minimum of standard of representation, and yet you’d be surprised at the number of movies that fail this simple test.
For instance, Avatar, one of the highest-grossing films of all time, fails the Bechdel Test. Though it has more than two named female characters, their reactions are limited to conversations regarding men. This includes conversations between Neytiri, the main female character and love interest, and her mother. The list of failing movies continues with other notable examples such as the original Star Wars trilogy, as well as The Avengers, Harry Potter and the Deathly Hallows: Part II and Toy Story 1 & 2.
Famously, the entire Lord of the Rings trilogy is viewed as failing, or mostly failing, the Bechdel Test. I say mostly, as while Tolkien’s written work fails entirely, some could argue that the second of the movie trilogy, The Two Towers, passes. In a fleeting scene we see a child ask one of the three prominent female characters, Eowyn, ‘Where’s mama?’ and is hushed in response. Therefore, one could question whether this dialogue can truly be deemed as a conversation. However, the question of whether or not this movie passes the Bechdel Test does not deny the fact that throughout the 9 hours and 17 minutes run-time of the trilogy combined, there is only a brief few seconds where two women interact.
So, a movie passing the Bechdel Test, does not necessarily equate to it having accurate or sufficient female representation. Similarly, I would argue that some good movies may fail the Bechdel Test, or that failing may even make sense given the subject of the movie. The Imitation Game, for example, narrates the story of the historic figure Alan Turning and his contribution to the breaking of World War Two’s Enigma Code. The movie has one central female character, Joan Clarke played by Keira Knightley, who only occasionally interacts with other women when talking about men. However, given that the movie portrays Joan’s character as a woman in a field full of men and that the movie itself revolves around Alan and that field, it is unsurprising that her shown interactions with women are limited. Another apt example would be the romcom, or anti-romcom, (500) Days of Summer. Throughout the movie the main character, Tom, heavily romanticises his love interest, Summer, ignoring anything she tells him about not being interested in a relationship and is subsequently left heartbroken. Given that the story is told through the eyes of Tom, it is understandable that the woman who he views as a romantic idea as opposed to a multi-faceted person, is only portrayed in romantic connection to Tom.
The Bechdel Test is therefore not perfect, but it is not meant to be. Afterall, it originated as a comic strip joke, particularly for a lesbian audience to relate to the idea of media portraying women solely in relation to men, as opposed to a certified film critique tool. The fact that it resonated with a wider female audience, however, made it so relevant. And yet, it should be viewed as a bare minimum test of representing women, but also should not be taken as a black or white basis of whether a movie is feminist. Bechdel herself has stated that she is ‘not a stickler about the Test’ and has enjoyed movies that do not pass it.