Review of women’s liberation in Switzerland film The Divine Order over at Flickering Myth and below.
An informative and entertaining drama, The Divine Order tells a serious story in easily watchable fashion, focusing on strong performances from the two leads (Marie Leuenberger, Maximilian Simonischek) as the couple at the heart of the film.
Showing how Switzerland’s female population won the right to vote in 1971, the movie does not barrage the audience with political theory or facts and figures. It simply shows, in a surprisingly light but resolutely inspirational tone, how and why the country’s women did not enjoy political suffrage earlier and what needed to happen in order to gain it.
Nora (Leuenberger) has a peaceful and secure existence in her small Swiss village. Her days are spent looking after her two sons, unimaginative husband (Simonischek) and cantankerous father-in-law. As the contrasting documentary style news images that play in the opening credits remind us, the year is 1971 and major political change is happening throughout the world. And yet, here, in Switzerland the contrast is as clear as the snow peaked mountains in the distance.
The story plays around Nora’s gradual empowerment as she realises that things can’t continue as they always have done. She wants to work, and her husband flat out refuses. He is not even entirely sure why himself; it is just not the done thing in those parts. There are many moments in the film just like this, where received wisdom and old-fashioned ‘tradition’ become embroiled in plain misogyny shock with a potent force. The film is not a difficult watch, it’s true, but that shouldn’t be seen as a criticism. In fact, it manages to get across the central ideas clearly, which when you’re talking about more than half of the population’s right to vote can only be welcomed.
There is humour within the film as well. A travelling workshop taught by a Swedish hippie (TV series The Bridge’s Sofia Helin) shows the local women the philosophy of yoni power and the importance of loving their vaginas. The almost slapstick comedy of this and other scenes broadens the film’s appeal somewhat, and brings the important points it has to make about political identity and power home in clarity.
There are also moments of real violence and infuriating diatribe from the local men, as well as the female head of the anti-women’s right to vote society. These real dangers show exactly why women in remote areas found it difficult to make their voices heard on issues such as this.
Through self-education and determination Nora manages to make a difference to the village, and to the other women, because she is someone. She is herself, and not only a wife and a mother. The basic points are what needed spelling back in the 1970’s, and they retain their urgency today. Petra Volpe’s film does that in an audience pleasing way, and manages to be both insightful and motivating.