The Perfect Nanny

Classism and the power hierarchies that it informs are central themes in The Perfect Nanny, often intertwined with themes of sexism and racism. The Massé family and Louise represent opposite poles of a classist dichotomy: Louise holds a lower socioeconomic status, barely affording to live in the suburbs of Paris and has a “low class” job, while Paul and Myriam are middle or upper-middle class, living in the 10th district of Paris and working in music (Paul) and law (Myriam). The characters with the superior status frequently exercise their power over the lower status Louise. They have her work long hours and even bring her with them on vacation, dictating her schedule—something that Louise presumably could not, or would not, argue against, as she relies on the Massés to earn a living.

Louise’s lower class status results in her often being objectified, treated as less than human. When they invite Louise on vacation, Paul automatically assumes that Louise will be delighted to join them. He can’t fathom that she’d have a life of her own, outside of caring for children—especially children that aren’t hers. The way Paul talks about Louise also reflects an attitude of Louise being some sort of object, at best a pet or a child. Not an adult woman. These microaggressions through language serve to put Louise in her place, so to speak, reminding her that she is “less than” Paul and Myriam—she is beneath them.

Although the Massés want to maintain their classist authority over Louise, they also don’t want to confront the socioeconomic disparity between themselves and their nanny directly. They are awkward and embarrassed when they are forcibly reminded of Louise’s lower status. Paul “blames Louise for having brought her poverty, her frailties all the way here” when he learns she can’t swim, and thus can’t take the children swimming while they’re on vacation (69). Paul and Myriam are also perturbed when they learn about Louise owing back taxes, focusing on their own discomfort rather than Louise’s. In response to their awkwardness in the face of Louise’s poverty, the Massés go out of their way to conceal some of their upper class advantages. For example, when Myriam goes shopping, she hides the new clothes until Louise is gone for the day and “Paul congratulates her on being so tactful” (55). However, such actions are only to avoid their own discomfort. Myriam doesn’t truly care about Louise’s feelings: She is simply afraid of offending Louise and doesn’t want to lose her, and her own freedom to work in the process.

Stéphanie also embodies the theme of classicism. She is a prime example of how the elite leverage power hierarchies to assert their authority over the lower class. Stéphanie is unwelcome at a nice school, and when she struggles to acclimate, the administration take the opportunity to kick her out instead of trying to work with her and Louise to help her adjust. When Stéphanie joins Louise to accompany the Rouvier family on holiday, the Rouviers are uncomfortable with Stéphanie, the child of “the help,” taking part in the holiday like the other children. They always find a job for her to do, reminding her that she isn’t like the upper-class kids—she’s there because her mom, Louise, works for them. These are microaggressions designed to remind Stéphanie, a child, that she belongs to the lower class like her mother.