Analysis Of Austin Powers

Blasphemous, belittling, boorish. Such are the words some can describe Mike Myers 90’s classic comedy, Austin Powers. Mike Myers is regularly known for his outlandish and insensitive comedic films. So you may ask, how is Myers interpretation of Austin Powers a sophisticated example of satire which is undoubtedly deserving of the coveted Mark Twain Prize for American Humour? Despite the fact that the Austin Powers series serves as a deliberate parody, poking fun at the Bond series, it insightfully examines the role of serious topical issues present in contemporary society.

Whilst the comparisons between the Bond and Power series to some are far-reaching and absurd, to many viewers including myself, they are far more sophisticated than the

It is disgraceful. What comes to mind when you think of the conception of an all-white male hero? James Bond, Gladiator, Ethan Hunt- heroic, handsome, humble- all abide to the conventional norms. Conveyed in every Bond film, Bond is seen as an overbearing, dominant male figure while in comparison to his female counterparts who are on the other hand, frivolous and submissive. Ironically, Austin Powers is the opposite; there’s no other way to say it. He’s hideous and brainless. Myers effectively spoofs these perceptions through the satirical technique of reversal, flipping the script in an attempt to objectify men for a sense of balance. This provides a refreshing depiction contrary to the influx of stereotypical male movies. Drenched throughout the movie with cat calls, these sexual taunts help expose the un-canniness of sexism; providing a unique and humorous way to acknowledge the absurdity of men’s’ attitudes towards women. The reversal of roles conveys discourse on Bond’s treatment of women, as Powers himself is a lead without a speck of masculinity that is so aptly evident in the Bond films. Myers delves into the spectrum of caricature in the likes of fat bastard- monstrous, morbidly obese, miserable- which is a powerful use of exaggeration to influence the audience to see him as an abominable depiction of a male. In comparison, the diminution of the tiny Mini-me, a one-eight sized clone further illustrates the bizarre and grotesque nature of men that we have become so unaccustomed to see in films. This is important as it further diminishes the role of men in the film, thus placing more attention towards the female characters. The ridiculous colloquialism of, “get in my belly!” is a typical representation of burlesque which aids in depicting men as very un-attractive