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The scenario functions both to parody the expected intensity and seriousness of typical crime film narratives and to exaggerate the atypical presence of a pregnant woman in this setting. The diegetic function of Marge’s morning sickness deserves particular attention in relation to this strategic exaggeration given the fact that, as we later learn, Marge is already seven months pregnant. Morning sickness is a condition that, except in rare cases, tends to affect women in the early months of their pregnancies.
On the one hand, the image of Marge with gun in hand seems to offer a progressive challenge to the “fragile” pregnant woman stereotype that is well established within film history. And to some extent the potential challenge posed by this image is memorialized for viewers by all of the circulating photo stills of it. Yet one 22 MOTHERHOOD MISCONCEIVED particularly fascinating aspect of the scene from which this image derives is that, unlike climactic scenes of other films of the 1990s that feature women as agents of the law whose visible sexual difference figures centrally, it does not present a drawn-out chase or confrontation between the heroine and her antagonist in which suspense derives specifically from the question of whether or not the heroine will survive.
He’s wishing She’s willing . . While Gerald’s wish is the traditional one of a man for an acquiescent woman, her hope is portrayed in harmony with the contemporary figure of the desirous woman, seeking a partner prepared for action. This suggests the potential for his sexual failure as much as her sexual refusal: he hopes she will do it, she hopes he can. While the film does not pursue the possibility of sexual impotence in Gerald, at which the poster might seem to be hinting, it does devote time to tracing his feelings of emotional inadequacy once his wife begins not only to work outside the home, but to earn more than he does.