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On the 10th anniversary of 'Easy A’, Isobel Lewis ranks classic texts that were turned into high-school dramas
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Coming-of-age films have long looked to classic literature for inspiration
If the teen movies of the 1980s were defined by John Hughes, those of the 1990s were best known for their literary links. Many of the period’s most enduring success stories, such as Clueless and 10 Things I Hate About You, took inspiration from works of classic literature and attempted to transfer these well-known stories to high-school settings.
In the late 1990s to early 2000s, a trend emerged for these kind of films, with some of the biggest young stars of the era - Julia Stiles, James Franco, Reese Witherspoon - getting their big breaks in them.
Funny, romantic and filled with teenage angst, they managed to walk the line between light-hearted trash and the kind of film an adolescent could convince an adult they were watching for revision.
While these films were mostly present in the Nineties and Noughties, there were outliers in the teen movie fiction trend, from Nicolas Cage’s turn in Shakespeare-inspired story Valley Girl (1983) to 2010’s Easy A, which both uses and subverts ideas from The Scarlet Letter.
To celebrate the 10-year anniversary of Easy A, here is a ranking of 10 teen movies based on works of classic literature...
10. Whatever It Takes (2000) - Cyrano de Bergerac
While some of the films on this list intelligently twist both the teen movie genre and the classic texts they’re parodying, Whatever It Takes is painfully unimaginative. Loosely based on Edmond Rostand’s 1897 play (loose being the operative word here), it sees high school students Ryan (Shane West) and Chris (James Franco) strike a deal to help the other win their dream girl by pretending to be each other. Rather than being sweet, this film has a constant neggy undertone about being horrible to women, and unfortunately Whatever It Takes manages to be both bland and misogynistic.
9. Sierra Burgess is a Loser (2018) - Cyrano de Bergerac
Another take on the Cyrano tale, this Netflix romcom tells the story of unpopular student Sierra (Shannon Purser) who starts a text relationship with football player Jamey (Noah Centineo) while pretending to be a more popular girl at school. With teen flick To All The Boys I’ve Loved Before having been released a month before, the streaming service clearly hoped their second Centineo vehicle would reach the same levels of success, but the conversations around it tended to be a lot more negative. In an age where catfishing and consent are rightly being discussed, the romanticisation of Sierra’s manipulative behaviour just didn’t sit right with audiences. 18 years after the release of Whatever It Takes, Netflix really should have known better.
As a modern retelling of Cyrano de Bergerac, ‘Sierra Burgess is a Loser’ struggles to make its source material acceptable for modern audiences
8. She’s The Man (2006) - Twelfth Night
Of all Shakespeare’s plays, Twelfth Night might not be the most obvious subject to receive the high-school treatment. However, with its love triangles upon triangles, gender swapping and trickery, it does make for a pretty fun comedy. But where the core text is complex, She’s The Man uses a simple script to make it that bit more palatable. Amanda Bynes is tomboy Viola, who disguises herself as her twin brother Sebastian and attends boarding school in his place so that she can play on the school’s football team after the girls team is cut. She quickly finds herself falling in love with team mate Duke Orsino, but he’s got his eye on another girl called Olivia, who unfortunately has a crush on Viola-as-Sebastian. Hijinks ensue, but everyone gets their happily-ever-afters in the end.
Where there’s a light-hearted comedy element to most of the teen movies on this list, O is an outlier in its serious tone. Othello is now basketball player Odin (Mekhi Phifer), who is manipulated by Hugo (Josh Hartnett) to believe that girlfriend Desi (Julia Stiles) is cheating on him with his teammate Michael (Andrew Keegan). It’s a hard-hitting, but fairly faithful adaptation of Shakespeare’s drama, with sexual assault, murder and suicide storylines, but it struggles to look more deeply at the ways in which race and sex exist in modern society. It’s a standard you wouldn’t hold the other films on this list to, but O takes itself so seriously you kind of have to.
'O' is far more serious than its comedy counterparts
6. Valley Girl (1983) - Romeo and Juliet
As the original drama is about love-obsessed, overly dramatic teens, it’s no surprise that Romeo and Juliet-esque storylines have wormed their way into many a teen movie. In this 1983 classic, Deborah Richman is titular Valley girl Julie, who falls in love with a far-too-old-to-be-in-high-school Nicolas Cage as Randy. As a punk from the city, he’s her bit o’ rough, but the “two households, both alike in dignity” keeping them apart aren’t their families, but their friends. Things are kept light, with Romeo and Juliet’s tragic ending avoided, but with its sharp script and the great chemistry between the pair, it clearly paved the way for the teen movie classic lit trend of the 1990s.
5. She’s All That (1999) - Pygmalion
The best known adaptations of George Bernard Shaw’s Pygmalion are undoubtedly My Fair Lady and Pretty Woman, but 1999’s She’s All That is a great look at the play, too. Freddie Prinze Jr is jock Zack, who attempts to regain his popularity after being dumped for a reality star with a bet. If he can turn nerdy art student Lainey (Rachael Leigh Cooke) into the prom queen, he’ll be restored. Nobody is going to watch this film and think that Leigh Cook is unattractive just because she’s wearing glasses, but Zack manages to stay on the right side of likeable and leaves you rooting for him. Bonus points for Prinze’s performance art routine involving a hacky sack, it’s a true work of art.
Glasses do not a nerd make: Rachel Leigh Cook in 'She's All That'
4. Cruel Intentions (1999) - Les Liaisons Dangereuses
Based on a 1782 novel, Cruel Intentions transposes the world of French nobility to rich kids in New York. Sarah Michelle Gellar and Ryan Philippe are step-siblings Kathryn and Sebastian, who engage in a game of sex manipulation to get vengeance on those who’ve wronged them. For Sebastian, his challenge is to woo Annette (Reese Witherspoon), their new headmaster’s daughter who’s sworn to be celibate until marriage. If he seduces her, he’ll be able to have the person he’s always wanted: his not-quite-sister. The power games played between the pair are enthralling to watch and despite featuring a seriously dramatic ending, there’s just enough pent up angst in this film to make it irresistible.
Sarah Michelle Gellar and Ryan Phillippe play sex-obsessed step siblings in 'Cruel Intentions'
3. Easy A (2010) - The Scarlet Letter
“Isn’t it always the way, the books you read in class always seem to have some strong connection with whatever angsty drama’s going on,” Emma Stone’s Olive Penderghast asks in Easy A she reads The Scarlet Letter, setting up a film that won’t just take inspiration from classic literature, but parody the entire genre. A film about teens having sex - or rather, teens lying about having sex - Easy A reclaims Nathaniel Hawthorne’s 1850 morality tale as a feminist message about liberation and owning yourself, while also paying homage to the teen movies of the Eighties. It’s the film that Stone was born to play and made her a star.
Clueless reimagines Jane Austen’s Emma as though it was, like, totally transposed to Beverly Hills. Alicia Silverstone plays Cher, a popular, spoiled teen who takes new student Tai (the late Brittany Murphy) under her wing, giving her a makeover only to find herself later rejected. Aesthetically, Clueless is up there with the greats, with outfits still being recreated today and hilarious technology. But, like Cher, there’s more to this film than meets the eye and the sharp script and zingy one liners keep it feeling fresh today.
Patrick (Ledger) tames the shrew in '10 Things I Hate About You'
1. 10 Things I Hate About You (1999) - The Taming of the Shrew
It couldn’t be anything else at the top of this list, could it? 10 Things I Hate About You is often lauded as the ultimate teen romcom and it’s easy to see why. Julia Stiles is the titular shrew Kat, a “heinous b****” and moody teen with no interest in dating who’s seduced by school slack Patrick (Heath Ledger) to help out a friend. The chemistry between Stiles and Ledger is strong, but with a supporting cast including Gabrielle Union and Joseph Gordon Levitt, it’s hard not to fall in love with this film. It perfectly captures the dizzy rush of first love, with regular allusions to The Taming Of The Shrew as Gordon Levitt captures his lovesickness with the words: “I burn, I pine, I perish." But it’s Ledger who really drives 10 Things I Hate About You. This is the Australian actor at his best: singing, dancing, smiling, and making audiences around the world fall in love with him.
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This week sees two very different, and very worthwhile, films hit theaters, each dealing with youthful rebellion as their central characters. The first, Sally Potter‘s “Ginger & Rosa,” follows two young teen girls (Elle Fanning and Alice Englert) in 1960s England as they play hooky from school, discover politics, and have their first sexual experiences. The second is a little less wistful: Harmony Korine‘s “Spring Breakers,” starring Vanessa Hudgens, Ashley Benson, Selena Gomez and Rachel Korine as four co-eds who head to Florida on spring break, fall in with a drug dealer (James Franco) and leave their old lives behind.
The two couldn’t be further apart in content or execution, but they’re both very much worth checking out (have a look at our reviews of “Ginger & Rosa,” and “Spring Breakers”), and both show the continuing popularity of teenage rebellion as a cinematic subject matter. Because ever since people worked out that teenagers, you know, existed, sometime in the 1950s, angsty, anti-conformist adolescents have been easy to find in your theaters. So to mark the release of this week’s double-header, we’ve picked out some of our favorites from over the years. Check them out below, and let us know your favorites in the comments section.
“The Breakfast Club” (1985)
Earnest and irresistible, like the best John Hughes films, “The Breakfast Club” shows you a world you want to believe in, in spite of yourself. One Saturday morning detention brings together five high-school archetypes: a Jock, a Nerd, a Princess, a Rebel and a Freak. The five gradually begin to share parts of their ordinarily segregated lives, and realise that they are not so different after all. A potential horrorshow of cliché is averted by sensitive and memorable performances from the young leads — Anthony Michael Hall, Molly Ringwald, Judd Nelson, Emilio Estevez and Ally Sheedy — who were collectively launched to stardom on the back of it. Its influence cannot be overstated, both on the lives of real teenagers and on a generation of filmmakers. Kevin Smith called them “the best friends that most of us never had” and Judd Apatow said, “Everything I do is based on ‘The Breakfast Club.’” The rebellion on show may be a bit soft-core compared to some of the other movies we’ll discuss, but few films have ever been as perspicuous about adolescents. Lines like: “My God are we gonna be like our parents?” and “When you grow up your heart dies” echo the eternal concerns of teenagers in everywhere and, for all their innocence, the scenes where the gang come to terms with the harsh realities of adult life still pack an emotional punch. “The Breakfast Club” may to the ’80s what “The Great Gatsby” is to the ’20s: if you were there, you know that it’s not how it really was, but it’s how people will choose to remember it anyway.
“A Clockwork Orange” (1971)
Few films could be less like “The Breakfast Club” if they tried. In fact, for the whole of the ’80s, it was legally impossible to see the film in parts of the world, most notably the UK, after the stylized violence it portrayed allegedly inspired copycat incidents, and director Stanley Kubrick withdrew the film from circulation shortly after its release. What a crime it would have been if this film had disappeared from view. Based on the 1962 novel by Anthony Burgess, “A Clockwork Orange” is a towering work of philosophical cinema; a social treatise which only grows more prescient with every passing decade. Kubrick came to the film after a long-gestating project on the life of Napoleon project fell through (Steven Spielberg is now developing a Napoleon miniseries based on the Kubrick script), and the notoriously perfectionist director made “A Clockwork Orange” on a small budget in a matter of months. Malcolm McDowell, at his goggle-eyed, manic best, portrays Alex, the disaffected gang-leader with a penchant for ultra-violence who undergoes a brutal course of paternalistic correctional treatment. McDowell endured a particularly arduous shoot, damaging a cornea, breaking ribs and bearing the brunt of Kubrick’s demanding directorial style. The science-fiction stylings, the futuristic costume and Russian-influenced patois that Alex’s gang of “droogs” use, have aged remarkably well, and as a portrayal of destructive youth, it is peerless. The movie also stands as a rare act of bravery from the Academy of Motion Picture Arts and Sciences, which rewarded a shocking and controversial work with nominations for Best Picture and Best Director (though it ultimately lost out to “The French Connection“). If “The Breakfast Club” is a toasty comfort blanket of teen cinema, then “A Clockwork Orange” is a cold, hard dagger to the heart.
“Cry-Baby” (1990)
“Rebel Without a Cause” crossed with an Elvis movie, all from the warped mind of the “Pope of Trash,” John Waters. “Cry-Baby” stars Johnny Depp as the dreamy and troubled Wade “Cry-Baby” Walker, teen gang leader of the “Drapes”. Able to only cry a single tear, Cry-Baby makes all the girls go wild though the only one he wants is “square” Allison Vernon-Williams (Amy Locane). Unfortunately, Cry-Baby ends up in jail after being falsely accused of starting a riot by Allison’s boyfriend. With all of the odds against them (including her grandmother, his stalker, and the police), Allison rallies for his release and the two teens in love are reunited, after Cry-Baby wins a chicken race against her beau, in true 1950s rebel fashion. By the end, Cry-Baby has finally resolved his issues with the past and is able to cry from both eyes, rather than leaking a solitary tear. With song titles like “Doin’ Time for Bein’ Young” and “High School Hellcats,” and a cast including Waters-ian oddballs Traci Lords and Patty Hearst, “Cry-Baby” is a masterful, tongue-in-cheek homage to the 1950s teen rebel as only John Waters could make it. Depp took the role of Cry-Baby to rebel against the Hollywood machine and being pigeonholed as a mainstream teen heartthrob. Waters said that while they were discussing the movie, Depp told him that, “he hated being a teen idol. I said, ‘Stick with us, we’ll kill that. Don’t worry.'” Depp credited Waters as turning his career around, saying “John saved me, he really did, because I was desperate to get out of that mold, y’know, and desperate to not be a product anymore.” For the record, Depp will star in “Pirates of the Caribbean 5” in the summer of 2015.
“An Education” (2009)
Movies aimed at, or about teenagers, seek to illustrate the teenage “experience” and how said experiences shape their future. Director Lone Scherfig adapted writer Lynn Barber’s book of the same name into a film exploring how one teenager comes to find and learn from her experiences. The film follows 1960s London teen Jenny (Carey Mulligan), an idealistic 16-year-old who dreams of becoming a French existentialist. Her wiser-than-her-age sensibility finds a match in the thirtysomething David (Peter Sarsgaard), who wows her with trips to concerts and conversation with his sophisticated friends. The two find something in each other, but is it more than Jenny can handle? Throughout the movie Jenny is forced to question the life of young women in 1960s London, many of whom end up becoming secretaries and wives. Jenny’s need to rebel stems from a desire to see the world and live, and she believes that she‘s found a man who sees her as a woman, and not a child. By the end, Jenny’s fantasy is shattered and she’s confronted with questioning whether she ever knew what she wanted to begin with. Is the simple experience of being with David, enough to please her for the moment? Jenny may be accomplished for sixteen, but she learns the harsh truth that she may not know as much as she believes, and that’s always a hard truth to discover.
“Ferris Bueller’s Day Off” (1986)
Sometimes a film is such a cultural touchpoint that it’s hard to see it’s actually pretty atypical of the kind of movie it has come to represent. And so it is with John Hughes’ 1986 sine qua non of the high school film, “Ferris Bueller’s Day Off.” Without a doubt deserving its spot in the pantheon, one of the things that makes ‘Ferris’ so enduringly popular, and endlessly referenced is that, in one of the most formulaic of genres, the particular trick it pulls off has never really been repeated. Other movies on this list deal with the pain of being an outsider, the longing for acceptance, and the cruel alienations and humiliations that seem world-ending when viewed through the magnifying prism of hormonal teenagerdom. But Ferris? Nope. Ferris is popular. Crazy popular, no less, with a pretty girlfriend (Mia Sara), a doggedly loyal best friend (Alan Ruck) and a school seemingly stuffed to the brim not just with admirers, but with fans; if his bitchy sister (Jennifer Grey) and arch adversary principal Rooney (Jeffrey Jones) don’t buy into the hype, they are the only two. Ferris is beloved by all, manipulative to the point of smug, extroverted, self-confident and ridiculously lucky. It’s this self-assuredness that lets him rebel by cutting school, rather than angst or feeling like he doesn’t fit in. By all rights we should hate the hell out of him. But we don’t, because Matthew Broderick is so guilelessly adorable in the role, and because Ferris, winking and wisecracking to camera, wins us over too, damn him. Long befo
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