Film Notes: Josie and the Pussycats

One of the most accurate portrayals of late stage capitalism before it was even fully realized. A prophesy of the eventual TikTokification of the music industry. A satire of the American government’s corruption as bolstered by a Machiavellian antagonist. A story that compelled me to open my diary, gel pen in hand, and write songs for my own fictional band, one page over from the lyrics I had copied down from the movie’s soundtrack. I am, of course, describing Josie and the Pussycats, the 2001 film adaptation of the comic series. I want to note here at the top that none of these descriptions were given facetiously. If you are coming in to this film thinking that you’re going to have a laugh at its expense, then you are sorely mistaken, but I can’t say I’m surprised. It would be another casualty of the misconception that if something is accessible for and appealing to young women, it must be vapid and inane. 

The truth is, this film is very silly. It is, after all, based on a comic book and cartoon series; the intellectual property is a series of hijinks. But that’s part of the brilliance of Deborah Kaplan and Harry Elfont’s script: all of the childlike fun is there, with teeth sharpened by a cynical view of the music industry. (Cute with sharp teeth: kind of like, well, a cat.) The cast is absolutely stacked, with brilliant performances by all, but a whole thesis could be written about Parker Posey as Fiona, the personification of appearance-driven consumerism that is more verite than caricature. When defending this film, as I have done for 23 years, one of the common criticisms you might run into is the product placement. “So over the top!” this shortsighted hater might say. Well, you can inform them that actually, it’s all very intentional, as is pretty much everything on a film set. It’s commentary, babe. And in fact, production did not accept a dime of payment; in a film about pop and rock, a very punk move. 

On a personal level, I cannot understate how much this movie meant to me. It came out the summer that I turned 12, influencing more than just my back-to-school haircut (yes, I printed out a picture of Rachael Leigh Cook and brought it to the salon). It changed the way I looked at the media I consumed, trends I followed, and the value I placed on friendships. Yes, it has just as many hijinks and one-liners as the comic, but it also has a gravity that goes unappreciated by those who can’t get past the body glitter and cat-ear headbands. Thankfully, although it was a box-office flop, Josie has gained more fans in recent years. Similar to other girlhood greats like Spice World, the film has been reevaluated and more accurately appraised, with critics noting its self awareness and perpetual relevance. As the music industry, even more than the rest of entertainment, has been affected by monopolies like LiveNation and the commodification of social media—how a particularly catchy 10-second clip can be more valuable than a multilayered album—we can see just how accurate this satire ended up being. Whether you’re a new convert or a lifelong Pussycat, know this: DuJour means friendship.

If you enjoyed this article, please consider becoming a patron of Hyperreal Film Journal for as low as $3 a month!