​‘Dear Ms.: A Revolution in Print’ HBO documentary looks at the legendary publication

By Greg Carlson

gregcarlson1@gmail.com

Now available on HBO after a theatrical debut earlier this year at Tribeca in the Spotlight Documentary section, “Dear Ms.: A Revolution in Print” considers the groundbreaking impact of the famous feminist magazine through the lenses of three talented moviemakers. Each of the episodes dives into a different topic with as much sophistication and contemplation as might be possible in an anthology feature, although one could easily imagine three complete movies, given the vast amount of material and the ongoing cultural conversations addressing race, intersectionality, misogyny, allyship, pornography and sexual identity.

Salima Koroma’s first chapter, titled “A Magazine for Women,” establishes the use of simple, eye-catching animation with a vintage-inspired design. Used throughout the duration of the film, these artistic graphics supplement the wealth of archival clips and the newly acquired interviews with many of the participants at the forefront of the periodical’s genesis and expansion. Koroma places into context the idea that a publication by and for women that existed outside the limitations of “traditional,” patriarchy-aligned content (that had focused on homemaking, cooking, cleaning and parenting) was nothing short of radical. “Ms.” co-founder Gloria Steinem (91 years old at the time of this writing) and other key editors, contributors, activists and voices, including Letty Cottin Pogrebin, Patricia Carbine, Suzanne Braun Levine and Marcia Ann Gillespie, share illuminating stories.

Former “Ms.” staff writer Lindsy Van Gelder kicks off the second part of the documentary by cheekily suggesting that we talk about the “famous feminist topic” of men. Director Alice Gu’s “A Portable Friend” follows with a montage of sitcom and talk show clips from the likes of “The Mary Tyler Moore Show,” “Saturday Night Live,” “Good Times,” “The Jeffersons,” “The Brady Bunch,” “Taxi” and “All in the Family” to illustrate assumptions about female subservience in the workplace and the marriage. Throughout the film, landmark issues of “Ms.” merit close consideration, and Gu zooms in on several, including covers on domestic violence, workplace harassment and the 1975 “men’s issue.” Alan Alda, whose support of gender equality and egalitarianism would turn him into a punching bag/target for conservatives, sits down with Gu for a very good interview.

The third and final segment, directed by Cecilia Aldarondo, is named “No Comment” after the long-running “Ms.” feature made up of frequently reader-submitted examples of horrendously offensive and sexist advertisements from major companies and corporations. The heart of Aldarondo’s exploration, and for my money the most engrossing of the entire feature, is a balanced look at the variety of conundra tangling up sexual exploitation and objectification of women in both the mainstream and adult content industries versus the right of women to choose how they wish to demonstrate and engage in erotic and sexual expression. This philosophical battlefield is but one of the places where sharp disagreements create division within the larger movement.

The death of “Ms.” co-founder Dorothy Pitman Hughes in 2022 unfortunately robs the viewer of her voice in the newly recorded interviews that were collected especially for the documentary. A few critics have taken the filmmakers to task for not expanding the number of comments provided by women of color, but Koroma’s insightful and candid critique of “Ms.” in terms of the magazine’s handling and mishandling of race is certainly a worthwhile start. Right next to its central social, cultural and political themes, “Dear Ms.” is also

essential viewing for anyone interested in the history of journalism. The carefully curated cover images, from the now iconic elevation of Wonder Woman as a symbol of power, confidence and self-reliance to Miriam Wosk’s unforgettable illustration of a tearful, pregnant Kali hoisting eight arms encumbered by household obligations, always announced that “Ms.” valued style and substance.