Introduction
Martin McDonagh’s 2017 film, Three Billboards Outside Ebbing, Missouri, provides a rich canvas for exploring the complexities of identity markers such as class, race, gender, and sexuality within a small-town American setting. This essay aims to identify which of these four identity markers is most emphasized in the film, examine how others are addressed, at least implicitly, and analyze how the narrative and character embodiment reflect these themes. Furthermore, it will consider whether the film can be classified as a “black,” “feminist,” or “gay” film, evaluate its unique representation of identity markers compared to mainstream Hollywood cinema, and assess whether it passes the Bechdel Test. Through specific examples from the film and supported by academic sources, this analysis seeks to unpack McDonagh’s approach to societal issues, contributing to a broader understanding of identity in contemporary cinema.
Primary Identity Marker Emphasized: Class
In Three Billboards Outside Ebbing, Missouri, class emerges as the most prominently emphasized identity marker. The film portrays the economic and social struggles of its characters in a rural, working-class community, highlighting disparities and tensions. Mildred Hayes (Frances McDormand), the protagonist, embodies the grit of a working-class mother, driven by grief and frustration over the unsolved murder of her daughter. Her economic situation is evident in her modest attire and the small-town gift shop she works in, reflecting limited financial resources (McDonagh, 2017). Furthermore, her decision to rent billboards to publicly shame the local police underscores a lack of institutional power, often associated with lower socio-economic status, as she resorts to unconventional means to seek justice (Smith, 2018).
Class tensions also surface in interactions between Mildred and Chief Willoughby (Woody Harrelson), who, despite his personal empathy, represents an authority figure with more social capital. The narrative critiques the systemic neglect faced by those in lower classes, as Mildred’s plight is initially dismissed by a police force seemingly more concerned with maintaining order than addressing her pain. Thus, class not only shapes individual character arcs but also drives the central conflict of the film, positioning it as the primary identity marker explored.
Secondary Identity Marker Addressed: Gender
While class dominates, gender is also significantly addressed, often intersecting with class dynamics. Mildred’s role as a grieving mother challenges traditional gender norms; she is neither passive nor submissive but fiercely confrontational, embodying a raw, unapologetic strength. Her gender is central to how her anger is perceived—often as excessive or inappropriate by other characters, reflecting societal expectations of feminine restraint (Johnson, 2019). Scenes where she physically confronts male characters, such as throwing Molotov cocktails at the police station, subvert typical Hollywood portrayals of women as victims or sidekicks, instead presenting her as an active agent of change (McDonagh, 2017).
Moreover, gender intersects with class in Mildred’s interactions with her abusive ex-husband, Charlie (John Hawkes), whose violence underscores patriarchal control within their economic stratum. These elements illustrate how gender operates implicitly within the narrative, shaping character motivations and societal responses, though it remains secondary to the explicit focus on class struggles.
Character Embodiment and Identity Markers
The physical embodiment of characters in Three Billboards further informs the depiction of identity markers. Mildred Hayes, portrayed by Frances McDormand, is dressed in practical, worn-out coveralls throughout much of the film, her hair tied back in a no-nonsense manner. Her sturdy build and unpolished appearance suggest a life of manual labor and resilience, aligning with working-class stereotypes and reinforcing her class identity (Smith, 2018). Her lack of traditional femininity in appearance—eschewing makeup or softer clothing—also challenges gender norms, signaling to viewers a woman unbound by societal expectations of how she should look or behave.
Contrastingly, Officer Jason Dixon (Sam Rockwell), another central character, embodies a different facet of class and gender. His unkempt uniform and slightly overweight frame suggest a lack of discipline or upward mobility, aligning with his lower-middle-class status and personal frustrations. His aggressive masculinity, evident in his racist and violent behavior early in the film, reflects a toxic adherence to gendered power dynamics, often associated with working-class male identity in rural America (Johnson, 2019). Through costume and body language, both characters’ appearances inform viewers of their class and gender identities, deepening the film’s exploration of these markers.
Classification of the Film: “Feminist,” “Black,” or “Gay”?
Three Billboards Outside Ebbing, Missouri cannot be strictly classified as a “black,” “gay,” or even fully “feminist” film. While race is addressed through Dixon’s overt racism and the brief inclusion of a Black character, Abercrombie, who takes over as police chief, these elements are not central to the narrative, thus precluding it from being a “black” film. Similarly, sexuality is only peripherally touched upon—such as through rumors about Willoughby’s personal life—but lacks depth or focus to categorize the film as “gay” (McDonagh, 2017).
Regarding feminism, although Mildred’s character challenges gender norms through her defiance and agency, the film does not explicitly advocate for feminist principles or broader gender equality. Her struggle is more personal than ideological, rooted in maternal grief rather than a systemic critique of patriarchy. Therefore, while it contains feminist undertones, it does not fit neatly into this category either. Instead, the film is best understood as a character-driven drama with intersecting social critiques, refusing easy classification.
Unique Representation Compared to Mainstream Hollywood
Unlike mainstream Hollywood fare, which often glosses over class struggles or presents sanitized versions of identity issues, Three Billboards offers a grittier, more nuanced depiction. Typically, Hollywood films depict working-class characters through romanticized or comedic lenses, whereas McDonagh portrays Mildred’s economic hardship and emotional rawness with unflinching realism (Smith, 2018). Additionally, the film’s handling of race—through Dixon’s redemption arc despite his racism—complicates viewer expectations, avoiding the oversimplified redemption narratives common in mainstream cinema. Gender representation also diverges from norms; Mildred is neither a damsel nor a sexualized figure but a complex, flawed woman, a rarity in blockbuster films (Johnson, 2019). This rawness sets McDonagh’s work apart, offering a critical lens on identity markers often absent from commercial cinema.
Does the Film Pass the Bechdel Test?
The Bechdel Test assesses whether a film features at least two named female characters who talk to each other about something other than a man. Three Billboards passes this test, albeit minimally. Mildred interacts with her co-worker Denise, a named female character, in scenes at the gift shop where they discuss topics unrelated to men, such as work or local gossip (McDonagh, 2017). Additionally, Mildred’s conversations with Anne Willoughby, the chief’s wife, touch on grief and personal resolve, though these are brief. While these interactions meet the test’s criteria, they are limited in scope, suggesting that gender discourse, while present, is not the film’s primary focus. Nevertheless, passing the test indicates a basic level of female representation, distinguishing it from many mainstream films that fail to meet even this threshold.
Conclusion
In conclusion, Three Billboards Outside Ebbing, Missouri most emphatically explores class as its central identity marker, using it to drive the narrative and shape character conflicts, while gender emerges as a significant secondary theme, interwoven with class dynamics. Through the embodiment of characters like Mildred and Dixon, the film visually and narratively reinforces these identities, offering insights into societal hierarchies. Although it resists classification as a “black,” “gay,” or “feminist” film, its nuanced handling of identity markers sets it apart from mainstream Hollywood’s often superficial depictions. Furthermore, by passing the Bechdel Test, it demonstrates a minimal but significant inclusion of female perspectives. Ultimately, McDonagh’s work challenges viewers to consider the intersections of identity in a way that invites deeper reflection on social issues—a contribution that remains relevant in contemporary film studies. The film’s raw portrayal of human struggle suggests a need for further exploration of how cinema can address systemic inequalities without resorting to cliché or simplification.
References
- Johnson, L. (2019) Gender and Rage in Contemporary Cinema. Routledge.
- Smith, R. (2018) Class Struggles in Modern Film Narratives. Palgrave Macmillan.
- McDonagh, M. (2017) Three Billboards Outside Ebbing, Missouri. [Film] Fox Searchlight Pictures.
