Exploring the depiction of female friendship in ‘Ghost World’
Terry Zwigoff’s slice of slow summer afternoons and aimless drifting, Ghost World, captures an undefinable malaise that occurs during the transition from adolescence to adulthood, unsure of your place in life. The 2001 film stars Thora Birch as Enid, a misanthropic outcast, and Scarlett Johansson as Rebecca, her best friend. At the beginning of the movie, the pair graduate from high school, and their distaste towards their peers is made explicitly clear from the get-go. They throw their middle fingers at the school before Enid, the more nihilistic of the two, stomps on her graduation cap.
With the arrival of summer but the promise of another school year no longer present, the pair are left to decide where to go next. Whereas Rebecca has a job lined up, Enid must attend a summer art class, signalling the first divide between the two. Rebecca is content with moving into adulthood, but Enid is reprimanded in adolescence for a little longer. In the meantime, they engage in meaningless activities such as hanging out in diners, visiting their friend in a convenience store and going to a movie rental shop. However, after they meet the man they prank-call, Enid becomes obsessed with spending time with him, neglecting her friendship with Rebecca.
Ghost World depicts the slow deterioration of a friendship at a pivotal point of coming-of-age like no other film. When we are introduced to the girls during their graduation ceremony, the apparent like-minded bond between them is illustrated when they are the only two to laugh at the speech. However, Zwigoff slowly begins to unravel their friendship when the pair prank call Seymour, played charmingly by Steve Buscemi. When Enid speaks to Seymour at his yard sale, Rebecca can only laugh, finding the whole thing stupid. Yet Enid becomes invested in Seymour, identifying with his outsider status and dedication to his unique interests.
In turn, she finds every opportunity to hang out with him, even attending a party of nerdy record collectors, to which she reluctantly drags Rebecca. In this scene, the breakdown of their relationship is marked by Enid’s willingness to leave Rebecca sitting with a man who clearly makes her uncomfortable so that she can spend time alone with Seymour. Like Enid, Seymour is pessimistic, and the two suit each other’s needs to find identification and understanding. Yet, Ghost World depicts the dangers of falling deep into cynicism and hatred of other people. When Enid indulges in these behaviours, she pushes Rebecca away, who is hopeful for the next chapter in her life as a young adult. Rebecca begins assimilating into ‘normal’ society, moving out of the ‘ghost world’ they once inhabited together to one where she is seen and respected.
Enid is certainly not the greatest friend to Rebecca all of the time, but Ghost World highlights the realities of reaching a stage in your life where you must reassess everything around you. The movie doesn’t punish the characters for their often complex and questionable behaviour; rather, it highlights how difficult it can be to navigate such a crucial part of your life. As the film approaches its end, and Enid becomes even more lost and alone, she meets with Rebecca on a bench. Johansson’s character sports a smart work outfit, including loafers, a bright purple cardigan and a white shirt. But Birch’s character still wears the same shirt and combat boots that we see her in earlier in the film.
Their newfound differences are apparent, signalling their growth over the past hour and forty minutes. Ghost World doesn’t depict the waning of their friendship with a dramatic outburst or argument. Instead, the movie paints a realistic picture of natural drifting that is not caused by one irreparable moment of action, making its depiction of friendship feel refreshing and authentic.
In the final sequence between the two on the bench, Enid grabs Rebecca’s hand, and they look at each other, knowing their friendship is no longer what it was when they were high schoolers. Rebecca asks, “What are you going to do now?” to which Enid replies, “I’m not sure.” The former simply replies by stating that she must get going or she’ll be late for work. They exchange a silent knowing glance, and Rebecca studies Enid’s face, her mouth twitching into a half-formed smile before asking her to call her. They part ways, and Rebecca drops Enid’s hand and walks out of frame. It’s the most bittersweet moment of the film, signalling the end of an era but one that has undoubtedly served both of them well.