From Magnum to Mugatu: Pondering on Zoolander's Social Commentary

        Fregoso argues that Chicano film is largely defined by authenticity and accurate representation, made for and/or about and/or by Chicano people. Chicano films like Mi Vida Loca or the earlier "Actos" films function counter-hegemonically, undermining the common conception of Chicano people with a version that comes straight from that community. The brilliant 2001 American film, Zoolander, also functions counter-hegemonically, though it works in a very different way than the Chicano films Fregoso discusses. Instead of portraying a more accurate and realistic version of a culture, it distorts and exaggerates the features of the American fashion industry to satirize what really is. In the final scene, protagonist/male model Derek Zoolander saves the Prime Minister of Malaysia by unveiling his powerful new “look” called Magnum, using his face to deflect an incoming throwing star launched at the PM by evil fashion designer Jacobi Mugatu.  This scene comments on gender expectations as well as the idea of nation, as it ridicules American greed, materialism, and superficiality. 

            

            The entire film satirizes the concepts of beauty and gender through its extremely shallow and unintelligent main character, Derek Zoolander. The glorification of the model’s appearance reaches pinnacle ridiculousness during this finale. Derek is dressed absurdly, having just walked a runway show called “Derelicte” in an outfit made of actual garbage, sporting shiny purple lipstick on his trademark pout. The audience, dressed sophisticatedly in all black, is mesmerized by the “glamour” of this crazy outfit and the equally outlandish stage design. The fact that they are so absorbed by the outrageous aesthetics of the show makes a statement in itself, but that Derek’s Magnum face (which is, in fact, identical to all his other looks) was beautiful enough to stop a hurtling blade says something else entirely. When the public perceives someone as "really really ridiculously good looking", they grant that person power, though that power in real life is not nearly as incredible and exaggerated as Derek’s. The fact that Derek is a male model, as opposed to the females we are more attuned to, makes these comments easier to read, as there is an extra layer of strangeness over the plot, accentuating the real life absurdities it points to. Had Derek been a woman, the insane power of his chiseled features may not have been as clearly satirical, as we expect women to attain power through their looks, whether or not we should. 

            Zoolander satirizes America as a nation as well, by parodying the role of the fashion designer through the character Jacobi Mugatu. He represents greed and materialism, and in this final scene is so desperate to take down the Prime Minister of Malaysia, an advocate for the child laborers the American fashion industry exploits, that he resolves to assassinate him himself.  Mugatu’s preposterous outfit and hair exaggerate his out of control selfishness, as he clearly put a lot of time and effort into his bizarre appearance. He is self-obsessed and self-interested, valuing his success and fame over the lives of the children who manufacture his designs.  The Prime Minister, on the other hand, is a kind and ethical (if somewhat oblivious) figure, happily watching the show as a guest of honor, even as the evil Americans plot against him. He is an innocent lamb sent to the slaughter. The contrast between the two men casts America in a bad light, commenting on the perception of our nation both at home and abroad. America cares only for itself, placing industry and wealth over humanity.