Rebel Without a Cause. Beach Party. Grease. Ferris Bueller’s Day Off. Clueless. Bring it On. What do they all have in common? For one reason or another, all of these films have remained ingrained in society’s collective psyche. Are they worthy to be deemed “classics”? And are they actually worth watching?
At their best, movies can transport us to places and situations different from our own, and make us feel along with their characters. Over the next month, I will be viewing six films, one from each decade, from the fifties to the millennium. On this journey I will attempt to deconstruct what has allowed these films to remain popular, and why “greased lightning” is still electrifying thirty-three years later. Prepare to be taken on a journey that should seem somewhat familiar. There will be cliques, dance numbers, gossip, detention, angst, and reputations to make or break.
Choosing a classic from the 1950s was relatively easy. After completing some online research, I realized that the only movie that sounded remotely familiar to me was Rebel Without a Cause. While something called Teenagers from Outer Space certainly sounded intriguing, I knew I had to choose a movie that was the most culturally relevant and that could truly be considered a classic.
I didn’t have an inkling of what Rebel Without a Cause was about, but the name sounded familiar in an “I’ve probably heard it referenced on a TV show” kind of way. Looking at the cover of the movie, I saw it starred James Dean, a name that was also vaguely familiar, admittedly because of a bad Hilary Duff song called “Mr. James Dean”.
Watching Rebel bolstered my courage to watch other movies from this era. I started watching this film with hesitance. I had been scarred in previous years by the 1963 version of Pink Panther, which was torturously slow and unbearably boring. Consequently, I steered clear of anything made before the 1980s.
Let’s get down to business.
The movie centres on Jim Stark, (James Dean) a teenager in 1950s America moving to a new place. Jim’s parents hope that the move will fix Jim’s problems with finding friends, fitting in, and getting into trouble, since they are caught up in their own problems. The root of Jim’s frustrations and problems throughout the movie stem from the fact that his parents aren’t who he wants or needs them to be. This problem is taken on and explored very seriously throughout the film.
The movie opens with Jim drunkenly on the ground, alone, petting a plastic monkey, which is apparently what you do in 1955 when you have no friends. From then on, the movie follows the consequences of Jim’s struggle to find his place in the town. Things become serious when a group of kids from the high school issue challenges to Jim, whom they have determined to dislike. The consequences involve the people who turn out to be Jim’s friends, Plato (Sal Mineo) and Judy (Natalie Wood).
While Rebel Without a Cause certainly fits into the teen genre, it is part of a slightly different subgenre than the rest of the films I have chosen to review. A serious, intense drama, this film stands in stark contrast to, say, Clueless. Rebel Without a Cause seriously tackles issues of mental illness and bullying through an exciting, dramatic, and very suspenseful film. The main characters, Jim, Judy, and Plato are portrayed as complex individuals with real problems and personalities that were as relatable in the 1950s as they are today. The film is also interspersed with moments of humour. Some humour is unintentional, stemming from the unfamiliarity of customs of the era to a modern-day teen. Some of the slang is unfamiliar, including terms with meanings I could not decipher, despite how straightforward they may seem in isolation, such as “yo-yo”, “wheel” and “monkey”. A part of what makes a film like Rebel fascinating fifty-six years later is the look into another era that it provides, in everything from fashion and music to attitudes and slang.
The Planetarium AKA Griffith Observatory, 2010
The action of Rebel Without a Cause is put into perspective through narrative provided by a field trip to the local planetarium. The presenter’s comments about how, compared to the immensity of the universe, “man, existing alone, seems himself an episode of little consequence” emphasizes the loneliness felt by Jim, Judy and Plato. The perspective gained by the trip to the planetarium and the effect of the purely instrumental score of the movie lend a feeling of existential significance to the teens actions, which is developed as the movie progresses. The broad, worldly perspective of the film stretches the boundaries of what one would expect to find in a teen movie.
The constraints of the somewhat rigid and proper 1950s atmosphere contribute to the necessity for the rebellion that the characters pursue, and make their struggles more satisfying and dramatic. While watching the film, aspects of the 1950s aesthetic proved particularly foreign, quaint, and consequently alluring. When picked up for public drunkenness off the street, Jim is wearing a suit and tie. When his parents pick him up, his mother is wearing jewels and a fur cape. The film also has a slightly distorted colour scheme, since it was filmed in "WarnerColor". While these quirks are the root of the film’s retro appeal, they also serve as reminders of the of the film’s timeless qualities, ever-present markings of the film’s age, and the fact that the movie is still relevant in 2011. While fashion, slang, and technology may have changed, people, and common human struggles have remained the same.
Rating:
5/5 Red windbreakers
The Verdict: Classic status of the highest order, because it is/has:
a)intense, suspenseful, all around “good movie”
b)successfully tackles issues relevant to teenagers
c)James Dean
d)successfully withstood the test of time (bonus: irresistible retro flavour)
e)James Dean
f)sharp dialogue
Should You Watch it?
Next time you are in the mood for an intense, suspenseful drama, watch this movie. The film is as good as or better than any modern drama, with the added “street cred” you’ll qualify for by watching an old movie, starring James Dean and Natalie Wood nonetheless. I foresee successful pop cultural references in your future.
Two reasons to watch the film: James Dean and Natalie Wood. Also pictured is director Nicholas Ray.
Director: Nicholas Ray
Writers: Stewart Stern, Irving Shulman, Nicholas Ray
“Nothing is greater than the sand, surf, and song
We’ll unrack our boards just as soon as we get there
Stack ‘em in the sand while they’re breakin’ just right
We’ll be surfing all day and a-swinging all night
Vacation is here, beach party tonight!”
Starring the famed duo “Frankie and Annette”, Beach Party is the first film of the “beach party genre”, pioneered by American International Pictures and copied by virtually every other studio throughout the 1960s. The film features the summer fun of a group of teens, their surfing exploits, and the minor relationship problems of main characters, Frankie (Frankie Avalon) and Dolores (Annette Funicello). Beach Party features an anthropologist (Robert Cummings) writing a report comparing the “developmental biology” of teenagers with that of foreign tribes. The premise of the relationship entanglement is that when Frankie’s invites Dolores to his parents’ beach house alone, she invites “the whole gang” over since she doesn’t want to be considered “just another girl”. Frankie gets offended and the two proceed to make each other jealous throughout the rest of the film.
The opening sequence and first musical number of the movie take placein what appears to be a yellow model T Ford on the way to the beach. The combination of the car, the clothes, the hair, and the seriousness of it all was jarring and delightfully strange.Throughout the film I had the feeling of stumbling into an old Archie comic come to life, except less dynamic and without as much character development. I was familiar with some of the slang, thanks to my childhood Archie obsession.
Beach Party proves to be slightly more risqué than a made-for-TV Disney movie, but fluffier, if such a thing is possible. Again, the film is about as realistic as an Archie comic. The film was wildly popular, but doesn’t have a lot of substance: fun for the 1960s audience, with a storyline that only seems to be there to allow for multiple wild body-shaking spastic dance numbers set to surf-rock tunes supplied by the Del Tones. The surf-rock music, when compared to the music of a movie of similar popularity, High School Musical, is vastly superior. The best part of the movie is the music, the opening sequence, and to a modern viewer, the retro bathing suits and hairstyles. The film’s pastel palette is refreshing and contributes to the overall feeling that Frankie and Dolores exist in an innocent and unrealistic alternate universe.
It’s likely that the infectious music, energy, spastic dancing, and appearance of “Frankie and Anette” added up to irresistible fun for teens of the 1960s. To me, some of the humour fell flat, possibly because pie-throwing and a gang led by Eric Von Zipper with lame false accents don’t constitute my idea of choice comic relief. The previous sentence sounds funnier than the movie actually was.
The main reason the movie suffered from a 2011 viewing is because, by modern standards, there are some pacing problems, which, before viewing Rebel Without a Cause, I thought to be characteristic of older movies. Doors open and close onscreen repeatedly, and people walk through doors and make lengthy exits in the way soap operas are staged today. The action moves slowly and the movie feels every second of its 101 minute runtime.
It is possible that I have overstated the negative qualities of the film. I was frightened of having to defend it as a classic, and at times, felt as alien to the action of the movie as the anthropologist analyzing the teens’ behaviour. One scene paralleled my reaction very closely: when the anthropologist was looking through a telescope and listening in to a dance on the beach, while repeatedly “hmming”. Overall, I don’t entirely regret watching the film, but I certainly wish it were shorter.
Rating: 2/5 Surfboards
The Verdict: I would judge Beach Party to be a classic because it:
a)captured a slice of life in a different era, despite no longer holding the same attraction to today’s teens
b)started the massively popular string of “beach party movies” in the 1960s
c)was the first pairing of notable and undeniably talented duo of Frankie Avalon and Annette Funicello.
d)contains great “surf-rock” music
Should You Watch it?
Would I recommend Beach Party for a good time? Maybe, after a long day at the beach, when you would likely fall asleep before the end anyway. The film isn’t meant to be taken seriously. The only way I could have seen myself watching this film of my own volition (other than for blogging purposes), would be digging this out of a cabinet in a cottage in the summer with my siblings or cousins and having a jolly good time poking fun at it, but the film would still be unbearably slow in parts.
Ironically, my personal favourite film conveys possibly the worst message of the bunch. Essentially, the moral is: if you want to keep the guy, don’t stay true to yourself. While the film doesn’t have the most positive or morally correct message, at least that message is dressed up in the clothing of an amazing musical, with songs that, after a while, instead of being forgotten, simply become a part of your being. My description of the movie is not doing the film justice, partly because the magic of Grease can’t, and even shouldn’t be explained. So if you haven’t seen it, please stop reading. I don’t want to ruin it for you. My least favourite people are the ones who ruin the endings of movies and books. I don’t want to be that person. Because, come to think about it, the more I try and deconstruct the film, the less I like it.
I refuse to be this person
The film follows the romance of Sandy Olsen (Olivia Newton-John) and Danny Zuko (John Travolta), two teens who have a summer romance and end up at the same high school. Both people struggle to make the relationship work despite their different social positions and groups of friends. Well, gee, when you put it like that, who would want to watch it? Obviously, in my pithy plot recap I have missed something that can’t quite be captured in writing. At least, that’s what a place cemented in pop culture and a worldwide box office gross of over three-hundred million dollars says.
So why has a film with, upon close inspection, such a negative message stayed around for so long? Because it’s irresistibly fun. The movie is harmless. Sure, Sandy changes her clothing, hair, and tries a cigarette at the end of the movie, but nobody gets hurt. The purpose of the movie is to have a great time, get the audience singing, dancing, and maybe induce a little nostalgia for a different time. Why does Grease work better than Beach Party? The storyline is more believable and the film is a prime example of the masterful integration of song and story. This success probably has much to do with the fact that Grease was a Broadway musical before it became a box office-smashing escapist musical. After all, I think we could all agree that life would be better if it were a little more like a musical.
Set in the 1950s, the film takes a decidedly different approach to the teen movie than Rebel Without a Cause. While the film doesn’t shy away from tougher topics such as dropping out of high school and teen pregnancy, it explores them through the majesty of song, rather than dialogue. (I did just use the phrase “majesty of song”. This is a review of Grease, after all)
Having seen the movie in the third or fourth grade, I was able to have the unique experience of revisiting the film as a teenager. First of all, I was surprised to see how unserious the film was. I can now tell that the film was meant to be fun, and that the frenetic energy was exaggerated, but when I was nine I found it a lot more serious. I guess I figured high school would be a lot like Grease (cue laughter at my nine-year-old self). I was also surprised to see how dirty the film was, which I probably noticed since I was watching with my twelve-year-old brother. (Side note: I shielded his eyes at one point. I am such a good sister)
Rating:
5/5 Pairs of black hot pants
The Verdict: Grease is a classic due to the:
a) infectious, fun-filled show tunes
b)awesome dancing
c)fun, universally accessible storyline
d)frenetic energy and deft touches of intentional cheesiness
Should You Watch it?
In one word, yes. Watching Grease is akin to trying Coca-Cola, an experience I would argue to be integral to understanding North American culture. Like Coca-Cola, the film is a classic, but not necessarily the healthiest thing out there. Beloved by many people, Grease will undoubtedly remain a classic for as long as people watch movies and listen to music.
Director: Randal Kleiser
Writer: Jim Jacobs, Warren Casey, Bronte Woodard, Allan Carr
“Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.”
Ah, yes, the 1980s. The Golden Age of teen movies, thanks to this man.
Thank you John Hughes
Trying to choose the most “classic” of teen movies in the 1980s is a struggle. There were other movies such as Pretty in Pink, Sixteen Candles, The Breakfast Club and more with a classic status that dominates every other movie on this blog, on par with Grease and Rebel Without a Cause. However, in order to retain order in this blog, I had to choose just one. When choosing from the John Hughes catalogue, you can’t go wrong. All of his teen films are considered classics. I decided to choose the one I enjoyed the most. While Ferris Bueller’s Day Off is the funniest of the bunch, I feel that it also conveys a poignant moment in the teenage experience.
Now, I should introduce the premise of the movie for anyone who has yet to see it, if such a person exists. Ferris, a lovable troublemaker, decides to take the day off of school, and take his hometown of Chicago by storm, along with his girlfriend, Sloane Peterson (Mia Sara) and best friend Cameron (Alan Ruck). However, as Ferris’ ninth sick day this semester, his school’s Dean of Students, Mr. Rooney, sets out to stop him.
The film uses an interesting narrative technique. Throughout the movie, Ferris addresses the audience directly, offering tips, such as “how to fake out the parents”. The use of narrative aside, proven effective by the likes of Shakespeare, provides an extra opportunity for comedy in an already funny film.
The film’s setting, downtown Chicago, functions as a large part of the film as the teen’s playground. The day’s antics include a dance sequence, which contributes to the exuberance of the film. Part of the reason why the movie is so enjoyable is because of how relatable the film is. Even the premise: “How could I be expected to handle school on a beautiful day like this?” is painfully familiar. We’ve all been there. An especially poignant moment in the film is when the characters discuss their uncertainty about the future, something I found especially relatable.
Why has this film remained so popular? I would wager that the combination of expertly executed, laugh-out-loud humour, a very relatable premise and characters, and the poignant portrayal of the uncertainties felt by older teens have given the film its enormous staying power. The film is also extremely quotable, which is a testament to how well written it is. In addition to spoken humour, the film employs a great deal of visual humour. There are some great action shots and a memorable Rube Goldberg machine. The fashion is also quite memorable, especially since the film spans only the length of a day, with one memorable costume per character. Who could forget Ferris’ zany cardigan or Sloane’s white fringed jacket?
Rating:
5/5 1961 Ferarri GTs
The Verdict:A classic of the highest order due to:
a) extremely well executed humour
b) being fun without occupying an alternate reality (portrays worries teens face)
c) relatable, dynamic characters
Should You Watch it?
This movie is fun, quirky, and undeniably a classic. If you have not seen it, I suggest you do so as soon as possible.
Bonus: As if my raving review was not enough to convince you to watch, if you keep an eye out you’ll catch Dirty Dancing’s Jennifer Grey as Ferris’ sister, and a Charlie Sheen cameo as a druggie (oh, the irony) in the police station.
“Cher’s main thrill in life is a makeover; it gives her a sense of control in a world full of chaos.”
Clueless follows the life of wealthy teenager Cher Horowitz (Alicia Silverstone), as her life parallels that of Jane Austen’s Emma. Cher and her best friend Dionne (Stacey Dash), best friends because “[they] both know what its like to have people be jealous of [them]”, take the new girl in school, Tai (Brittany Murphy) under their wing. Closely following the storyline of Emma, the film explores the consequences of Cher’s matchmaking ways. With a Jane Austen storyline proven to be charming, the details of the film are free to vary greatly and ingeniously from Emma.
Set in Beverly Hills, California, Clueless infiltrates the lives of well-to-do California teenagers via a comedy that verges on parody. While Cher’s life may seem shallow, as she spends most of her time shopping, arguing, and meddling in Tai’s personal life, a hidden depth is revealed through her ingenious commentary that threads the movie together. Alicia Silverstone is brilliantly funny and convincing in the main role. Clueless and Ferris Bueller’s Day Off are certainly tied for the most quotable of all the films.
The message of the film is the same as the messages of Emma: that matchmaking is a devious habit best left to the side and that love can be found in the unlikeliest of places. The reason Clueless has succeeded where so many teen movies have failed is the razor-sharp dialogue. Every word that comes out of Cher’s mouth is comedic gold. Alicia Silverstone delivers her ridiculously slang-riddled lines in a way that’s just serious enough to elicit laughter from the audience throughout the entire movie. While “tweens” will certainly see Cher as a pretty, popular, aspirational figure, she holds even greater appeal to a teen and young adult audience with her comedic insights into daily life, such as the following: “Getting off the freeway makes you realize how important love is.” While Cher’s high school experience isn’t quite realistic, the wealthy, attractive California setting contributes to the escapist entertainment that Cher’s life brings to Clueless. Clueless proves that it is possible to make a classic teen movie that doesn’t completely portray the realities of high school.
The movie has an appealing and appropriate soundtrack, which includes “Kids in America” and, of course, “Rollin’ With the Homies”. The movie is rich in nineties culture, which, from a modern-day perspective, adds another layer of interest, as the film is set in a decade when crop tops were fashionable, cell phones were large and clunky, and thigh-high socks were popular.
Rating:
4/5 Clunky cell phones
The Verdict: Clueless can certainly be deemed a classic teen movie. The movie is deserving of this designation because of its:
a)stunningly comedic portrayal of a California teenager
b)positive, appealing message: matchmaking is bad, stay true to yourself
c) fabulous, outrageous fashion
d) cute romance
Should You Watch it?
While the romance is not quite as fresh, and the resemblance to reality not as striking as in Ferris Bueller’s Day Off, Clueless is a close second. Watch this film the next time you are in the mood for light-hearted humour.
Released in August of 2000, Bring it On was popular at the box office, taking in a gross of approximately $90,449,929 worldwide. The film follows the struggle of California’s Rancho Carne High cheerleading squad, the Toros, to the national cheer competition. The squad is headed by newly crowned and idealistic captain Torrance Shipman, (Kirsten Dunst) who intends to take the competition honestly. The movie is focused on the cheer competition, but it also documents Torrance’s friendship with new recruit Missy Pantone (Eliza Dushku) as well as leaving a little room for romance (it is a teen movie, after all).
This movie’s strong point is definitely found in its “comedy” and “cheerleading” aspects. Effective touches of humour include the deft incorporation of self-referential humour and some rare off-the-wall scenes in the vein of Napoleon Dynamite. These laugh-out-loud funny scenes include the team’s open tryouts, shots of the other very serious teams at nationals, and the tutelage of choreographer Sparky Polastri and his trademark “spirit fingers”. Where the movie struggles is the “romantic” component of romantic comedy. The romance felt boring, formulaic, and even unnecessary to the story, especially after bearing witness to the more complex, realistic, or enjoyable romantic relationships in the other films. Even when contrasted to its closet chronological counterpart, Clueless, the relationships in Bring it On pale in comparison. While formulaic romance can clearly be fun to witness, (as Taylor Swift music videos clearly demonstrate) they require the audience to be attached to the characters involved. The audience has to really want that fairytale ending. The characters in Bring it On are relatively one-sided, which is understandable, as the movie dedicates a sizeable chunk of its time to competition sequences rather than, say, dialogue. I cared more about the Toros succeeding at nationals than I did about any of the characters’ romantic entanglements. The only part of any of the characters’ home lives the audience is introduced to is Torrance’s accurately annoying younger brother.
If anything, Bring it On introduced the 1982 song “Mickie”, by Toni Basil, to a large, young audience which immediately embraced the nasal anthem. I can clearly recall many third grade talent show dance routines set to the song.
So why has Bring It On remained popular? A string of direct-to-DVD releases has kept the series on life support for an audience of “tweens”, who see the energetic and popular cheerleaders as aspirational figures. Bring it On strikes me as a film that someone might enjoy in elementary school, but not one that will likely be revisited beyond that time. I strongly doubt that Bring it On could remain anyone’s favourite movie past the age of 14. However, this film is clearly a seventh grade girl’s paradise and evidently perfect viewing for a sleepover. The characters are all appealingly clean-cut, popular, and essentially trouble-free. The movie’s message, be true to yourself, is honourable, and the subject matter, cheerleading, is energetic and fun. The film is airy and harmless, and younger “tweens” and children will enjoy it. However, for a more mature audience, there’s not much there besides a couple of good laughs, which, granted, is more than you get in many movies. The movie contains just enough of what “tweens” will deem “mature” (read: sexual) humour, which is somewhat awkwardly dropped in, considering the overwhelming innocence of the storyline, to allow it to be taken seriously by the “tween” audience.
Rating:
2/5 Pom Poms
The Verdict: Bring it On should not be deemed a classic teen movie because it is:
a) missing the spark of originality
b) most appealing to a “tween” audience, not a teen audience
c) relatively shallow and one-dimensional when compared to other movies on the list.
Should You Watch it?
At this point in The Classic Teen Movie Project, I have viewed some great movies. If I could influence a small number of people to delve into a past that reaches farther back than the new release rack, I would certainly direct them to any of the other films first. Bring it On would be suitable viewing with a younger sister in sixth or seventh grade, or if you are trapped in a friend’s house and your other option is a bad Adam Sandler movie. Bring it On is not an inherently “bad” film. You will likely get a laugh or two, but the lack of real emotion in the characters and story will leave you with an empty feeling.
After bearing witness to six teen movies, five of which I have determined to be worthy of “classic” status, which films would I recommend in particular to my loyal readers? First, I would refer you to the handy dandy ratings system for quality, located at the bottom of each review. Then, I would urge you to cross reference with the ‘fun’ scale I have included below for the films that I have deemed “worthy to watch”, indicated by a score of four or higher on the quality scale.
Upon completion of this project, it has become obvious that there is no perfect formula for a classic teen movie. Some films succeed because they achieve a delicate balance between light-hearted fun, comedy, and real issues that teens face, such as Ferris Bueller’s Day Off. Other films take a completely different approach, offering a purely diverting, pleasant, and even nostalgia-inducing experience such as Grease and Clueless. Another type of teen film, as evidenced in Rebel Without a Cause, yields a different approach, staunchly addressing issues such as bullying, the true nature of strength, friendship, and mental health issues, all the while maintaining the intense, suspenseful pace of a good drama. It would be unfair to judge these films any further, as they have their unique merits, and are equally worth watching.
Many teen movies, such as Bring it On, completely fail to draw the audience into the story, and instead rely on tired cliché storylines without exploring the depth of their own story and characters. After viewing Beach Party, I came to the realization that while a film may be popular for a few years surrounding its release, it doesn’t necessarily mean it will be a classic enjoyed for all time. While Beach Party should be considered a classic for its impact, as it sparked a genre all of its own, the slow pace of the movie has dated it so that it has lost most of its appeal to a modern audience.
Throughout this project I have seen everything from sandy beach parties, makeover and shopping montages, chickie-runs, dance competitions and days off from school. It’s time to stop being cooped up in my room watching and taking notes on teen movies, and live a little. After all, life moves pretty fast.
Rebel Without a Cause. Beach Party. Grease. Ferris Bueller’s Day Off. Clueless. Bring it On. What do they all have in common? For one reason or another, all of these films have remained ingrained in society’s collective psyche. Are they worthy to be deemed “classics”? And are they actually worth watching?
