Feline Fiasco: 10 iconic on-screen catfights

This piece was originally written in May 2022 as part of a publication about fashion brand Blumarine.

Blumarine S/S22 campaign, shot by Harley Weir

“THAT WAS MINE!” screams the title of Blumarine’s S/S22 campaign, where two lithe models grab at necklaces, rip off scarves, claw at handbags and pull hair against a Barbie-pink backdrop. Shot and directed by Harley Weir, there’s a feeling of ridiculousness to it all, amplified by the ASMR interspersed throughout the video. Referencing Ellen Von Unwerth’s A/W97 campaign for the brand (where young Adriana Lima and Myka Dunkle grab and kick against a similarly pink background) Weir taps into the long history of the catfight. 

Blumarine A/W97 campaign, shot by Ellen Von Unwerth

The catfight is a recognisable trope in visual culture, littering everything from fashion photography to porn. First used in 1854 to describe the fights that would break out in polygamist Mormon communities – where wives would fight over the husband – it set the tone of catfights as women fighting over men, and later for the enjoyment of men. 

Rachel Reinke, author of the essay Catfight: A Feminist Analysis, talked about how “this inevitability of women always fighting with each other” has real-life implications on how we see women as destined to be bitchy and catty, from female politicians to women in the workplace. It also sets a cultural precedent for what women care about. “Because, of course, they’re straight. Of course, the ultimate achievement is winning the man.”

It’s possible to find amusement in the over-the-top campness of Dynasty’s Alexis and Krystle wrestling in a pond, or Meryl Streep and Goldie Hawn in Death Becomes Her battering each other’s immortal bodies, whilst acknowledging the trope that women are bound to compete in larger-than-life but ultimately futile altercations. Reinke mentioned this “subversive power”: “When you can reclaim it and say, ‘This is over the top and ridiculous. And we love it because it is so ridiculous, and it wouldn’t happen in the real world.’”

Here, we compiled 10 of the most iconic on-screen catfights – no easy feat, since the trope’s ubiquity means there’s a plethora of girl-on-girl action to choose from. Is it demeaning? Yes. Is it entertaining? Also, yes. 

DEATH BECOMES HER (1992)

“En garde, bitch.” This deliciously camp classic features Meryl Streep and Goldie Hawn as rivals who acquire eternal youth. Helen (Hawn) emerges from the garden pond with a massive hole in her torso after being shot in the stomach. Madeline (Streep) is hit with a shovel so hard that her neck bends backwards like an accordion. Though it’s a cult favourite of the LGBTQ+ community rather than something for straight men to salivate over, the warring women are still initially engaged in a rivalry over a man. But the notion of two aging women grasping at youth – with hilarious consequences – actually has a message about the pressures put upon women and their “expiration date”.

DYNASTY (1981-1989)

The ridiculousness of women in full ‘80s high glam clumsily fighting and slapping each other against the backdrop of earnestly dramatic music is too much camp to bear. Wrestling on the floor, grunting, tearing each other’s silk blouses, catapulting vases, rolling down mudslides in couture… The long-running series features a host of feline feuds, but perhaps the most famous fight scene is the lily pond fight between Krystle, current wife of oil tycoon Blake Carrington, and Alexis, former wife. “You miserable bitch!” exclaims Krystle as she launches herself and Alexis into the pond. They grapple ineffectually, Alexis assaulting Krystle with her floppy sunhat, until Blake arrives and scolds them both like naughty girls.

MEAN GIRLS (2004)

In this 2004 film which now provides fashion inspiration with its mini-skirts, mini-bags and slogan t-shirts, the female rivalry takes place more via schemes and plots than with a good-old-fashioned brawl. There is a moment, however, where main character Cady (played by Lindsay Lohan) envisions herself pouncing on Regina (Rachel McAdams) like a lioness. Accompanied by animal sounds, this imaginary primal fight is over in a second before Cady composes herself and concedes that, “In girl world, all the fighting had to be sneaky.” Again, the fighting here is over a man.

SHE'S THE MAN (2006)

Carmen’s operatic overture plays as debutantes battle it out in the bathroom. In this naughties, teen-high-school-movie version of Victor Victoria, Amanda Bynes plays a girl who poses as her twin brother in order to play men’s soccer. In a turn of events which should be familiar by now, the girls fight over a boy when the jealous ex bursts out of the cubicle having overheard the entire conversation. Containing the quintessentially ‘00s-teen-movie level of cringey dialogue, Olivia tells Monique: “He dumped you big. It was just like a big, huge dumping.” With these profound words, guttural banshee shrieks, launched high heels and boob punches ensue.

KILL BILL VOL. 1 (2003) & 2 (2004)

Finally, a film where the heroine is not fighting for a man but for revenge… to get back at her ex (Bill) who left her for dead on their wedding day. Directed by Quentin Tarantino, the fighting is not the typical catfight fare of ineffectual pushes and slaps which seem to inflict no pain. There are real stakes, and – in Tarantino style – lots of blood. There are four girl-on-girl battles in this series. Vernita Green is stabbed with a kitchen knife. Crime boss O-Ren Ishii is beheaded with a samurai sword after her meteor-hammer-swinging, schoolgirl bodyguard is defeated. And the one-eyed nurse Elle Driver? She has her other eye snatched out. 

BRINGING DOWN THE HOUSE (2003)

Though outdated in its racial stereotypes and lines like “Back off, Shaniqua!” and “Bitch, I will kick the bulimia out of your ass!”, the savage locker-room altercation is a scene worth remembering even if most of the movie is better left in the ‘00s. Charlene (Queen Latifah) confronts Ashley (Missi Pyle) after getting sick of one-too-many racially motivated remarks. From jump-kicks to the face to swinging punches, it actually looks like it hurts. Whilst “Simply Irresistible” plays in the background, Charlene bashes Ashley’s head into the wall so hard the tile breaks, uses her body to break a door and then proceeds to shove her head in the toilet. 

ONE MILLION YEARS B.C. (1966)

“I think I got my first erection to that movie,” wrote one Reddit user with regards to the cavewoman fight scene in this ‘60s adventure film. No doubt due to Raquel Welch and Martine Beswick in fur-kinis, tanned and oiled-up, with perfect hair despite the prehistoric conditions. Quickly drawing a crowd of ogling cavemen – whether they’re motivated by horniness or bloodlust – the spectacle of two brawling babes in the midst of a crowd of men is one that is quintessential to the catfight trope. Conveniently, the two catfight participants are the most conventionally attractive women in the tribe.

KEEPING UP WITH THE KARDASHIANS, SEASON 18 (2020)

Kardashian sisters Kim and Kourtney break into a fight after one questions the other’s work ethic. The sisters push, kick, grab and slap in a petty display which anyone with siblings will recognise. “How old are you?” one shouts, seeming to forget that they’re both 40-year-old millionaires acting like children in their Calabasas mansion. “I swear to God, I’ll punch you in the face,” shouts Kim. “So do it!” retorts Kourtney. Despite the widespread narrative that the Kardashians are shallow airheads, it’s quite refreshing to see women fighting over work ethic rather than a man. Is this the 2020 girlboss version of a catfight?

WILD THINGS (1998)

A catfight in a pool ends in a make-out session whilst Kevin Bacon watches from the shadows. Sounds like the beginning of a porn video. Convoluted and full of twists, this erotic thriller stars pampered popular girl Kelly and trailer-park goth Suzie. (Again, this dichotomy feels like something out of porn – hot blonde vs. busty brunette…) Their fight begins with the classic catfight fare of slaps to the face. Then, Kelly holds Suzie’s head under the water, whilst the camera gratuitously focuses on her breasts. Suddenly the mood changes: faces are stroked, fingers are put in mouths, and, before you know it, they’re making out.

FASTER PUSSYCAT! KILL! KILL! (1965)

Notorious for his sexploitation films and obsession with big breasts, this Russ Meyer film is one that you would expect to see on this list. Following three go-go dancers who escape to the desert and opening with a narration about the dangers of female sexuality, it seems like a misogynist’s wet dream. But it’s been much-debated since whether this is in fact a satire of conservative American values. Whether or not it’s a secret feminist masterpiece, within the first few minutes we have two voluptuous women breaking into a fight at the behest of the third – toughest and most busty – one. Of course, there’s a body of water involved.