by Edmund Bertram

Created on: April 14, 2008

In the golden age of cinema, it was been more common than not to find female characters who are either great villains or one-dimensional caricatures (the damsel in distress, a friendly and attractive fairy who makes dreams come true, etc). This article will explore some of the most spectacular exceptions.

DOROTHY GALE, "THE WIZARD OF OZ" (1939)
One of the earliest examples of a strong heroine in fantasy film is Dorothy Gale, played by Judy Garland in "The Wizard of Oz." Judy Garland was 16 when cast for the role as Dorothy. The character is made to be younger than that, however, the strength of this character is irregardless of her age. From the beginning of the film, her primary goal in life is to protect her dog Toto. Throughout her time in Oz, however, she learns valuable lessons about contentment and friendship. This ability to learn and grow is where all real strength comes from. This leads her on a bold and frightening trip down the Yellow Brick Road where she is given the responsibility to prove her strength and draw more strength from that of her friends and all that she learns along the way.

PETUNIA JACKSON, "CABIN IN THE SKY" (1943)
"Cabin in the Sky" is a very important historical film, as it was the first film with an entirely African American cast to be made by a major American studio. It was also very important to film history as it was the first musical directed by Vincente Minnelli (Judy Garland's future husband), who would later become the premier director of all MGM musicals (the studio that rose above all for musical pictures). The history of the film, however, is more impressive than the film itself for the most part. The two exceptions to this statement are the incredibly performed songs (especially those sung by Ethel Waters and Lena Horne) and the strength and life of its heroine, Petunia (Waters). Petunia finds her husband has returned to the life of gambling and promiscuity of his past. Before and after his death, which is related to the consequences of that lifestyle, she fights for his way out of those effects and the lifestyle itself. She does so, after his death, by personally fighting against the powers of hell in whose clutches he now belongs. The film lacks much story continuity or visual ingenuity to take us into its fantasized after-life world (more inspired by "Here Comes Mr. Jordan" than the beliefs of any religious system, giving it much room for visual creativity, but the budget would not allow that). However, Petunia stays

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