Films >> 12 Years a Slave (2013) >> Issue Essay >> Essay 1Essay 2

How We Define a “Classic”

By Molly Barrett

[1] Casablanca, The Wizard of Oz, and The Godfather all epitomize “Classic” film. Twelve Years a Slave, acknowledged for its distinct cinematic accomplishments and unflinching portrayal of the U.S. domestic slave trade, has already been dubbed an “instant classic” by some critics. Many historical films have also earned the Classic label. This essay looks at the question of why such historical films as Gone with the Wind, The Grapes of Wrath, Apocalypse Now, and now, possibly, 12 Years a Slave, have earned this prestigious recognition and how they contribute to our collective knowledge of the past.

[2] For over a century, film has been a major cultural lens through which we are able to see and experience the past, present, and future. Film serves as a record of people through the ages and helps us understand our culture and our progression. According to Tom Sherak, President of the Academy of Motion Picture Arts and Sciences:

film is a reflection of society, both present and past. . . . Movies are a form of communication, and that communication, those stories, come from societies -- not just where society is presently and what it's doing now -- but where society has been. . . . [Movies] tell us things we never could have known. They tell us things we might not know, and they give us a way to explore the past, the present and the future. (qtd. in “Role of Film in Society”)

Sherak's observations prove to be quite insightful: in their exploration of our society and culture, historical films serve to both preserve and educate.

[3] Tom Gunning, in “Making Sense of Films,” writes that “motion pictures may provide the best evidence of what it was like to walk down the streets of Paris in the 1890s . . . what the World Series in 1950 looked like, or how people in factories did their work or spent a Sunday afternoon in the park.” These historical films remind us of many facets of life, from major events like the Revolutionary War down to small details like the style of clothes or the popular vernacular: “films preserve gestures, faiths, rhythms, attitudes, and human interactions. ”

[4] 12 Years a Slave, for example, gives us the account of a real man from 1840s America who was subject to a horrific injustice. Through 12 Years we see the problem of inter-regional kidnapping through the angle of a slave narrative, and audiences are able to take away a better understanding of the situation. It was indeed possible for a black man to live a full free life in the mid-nineteenth century, but it was just as possible for that life to be instantly taken away. As Sherak reminds us, “film, therefore holds a truly unique place in the story of our civilization. . . . It provides a living record of the human condition and imagination at any given point in our story.”

[5] What is it about these historical films that qualify them as Classic? And how do we define the term? Merriam-Webster defines “Classic” as “serving as a standard of excellence, of recognized value,” “traditional, enduring,” “historically memorable,” and “noted because of special literary or historical associations.” The discussion of what could be considered a Classic, in any subject, is largely a matter of opinion. Overall, though, we can agree that Classic means a triumph of achievement.

[6] While Classic status can be a matter for critical debate, there does seem to be some consensus regarding the qualifying criteria. Sherak explains that “what makes a great film is that it stands the test of time . . . that you can look at it years later, and still enjoy it.” Movie Fan Fare offers these points of comparison for determining what films could be classic: “re-watchability, memorable performances, the feeling you get whenever watching it, recognition (or lack thereof), and quotes” (“Five Things”). Movie critic Ann Hornaday, says that the best movies share

a great director at the helm, someone who has marshaled all the many elements -- screenplay, actors, cinematographers, musicians, etc. -- to create a cohesive, expressive whole. And strong directors necessarily have a strong point of view, which is crucial to making something that will endure -- and not just be timely, topical and disposable. (qtd. in Weeks)

According to Steven Spielberg, audiences are the deciding factor for a timeless film; there must be a certain level of “audience affection” towards the film in order to gauge its reception and ability to thrive for generations (Weeks). NPR movie critic Bob Mondello agrees and adds that a film which “is too much of its own time . . . is unlikely to feel timeless 10 years later -- in fact, it may feel quickly dated” (Weeks). Critics agree that this list of elements contributes to creating classic film: strong directors, audience affection, gripping stories, and timelessness.

[7] What, then, is the impact these Classic films have on our society, and why do so many historical films find their way onto our Classic lists? We dwell on Classics because they seem to have a certain way of telling a story and thus carve a place in our collective memory. Americans under age 50 can distinctly recall the events of the Apollo 13 lunar mission at least partly because of the 1995 film, just as we can have a taste of 1920s America from The Great Gatsby. Even by watching films like His Girl Friday, we have right in front of us a record of life in the 1940s: how people spoke and acted, what sort of cars they drove, what they wore, and what their social expectations were. These films become part of our history and, perhaps more importantly, how we remember ourselves. The 1939 film Gone with the Wind, for example, has dominated our popular memory and understanding of the Civil War-era South, despite its distortions and inaccuracies.

[8]12 Years a Slave may be the latest addition to the list of historical film classics, the one that displaces the GWTW narrative about slavery. Multiple websites already feature photos from 12 Years on their Classics pages; film critics and historians had already predicted its spot on the Classic list as early as 2014. One of Northup's memorable quotes from the film, “I don't want to survive, I want to live” is already number 73 on a list of Hollywood's favorite quotes, suggesting the impact of the film is already quite notable in popular culture (Svetkey). Mia Mask, professor of film history at Vassar College, already suggests that 12 Years “is a classic that will stand the test of time.” She explains that it “is a brilliantly crafted film. First, it’s got a gripping story that speaks to the human condition. It has amazing performances all around. It’s wonderfully written, the music is great, and it’s well-paced” (Weeks).

[9] How does 12 Years measure up against the criteria for Classic Film?

• Are there memorable performances? Based on the 2014 Academy Awards, with Lupita Nyong'o winning the Best Supporting Actress award and both Chiwetel Ejiofor and Michael Fassbender being nominated for Best Actor in a Lead Role and Best Actor in a Supporting Role respectively, it is safe to say there are certainly notable performances.
• Does the film have any recognition? Once again based on the Academy Awards with multiple actors, writers, designers, and the director being acknowledged as well as plenty of positive reviews from respected film critics, the film has drawn considerable recognition since its release.
• Is there a strong point of view and a gripping story? This is another part of the criteria that earns a resounding yes. Northup’s enslavement, especially being a piece of the lesser-known inter-regional kidnapping epidemic, is definitely a gripping story. The point of view portrays the atrocities of enslavement, as well as the human condition and incredible will to survive. It is both a strong representation of our past as well as an inspiring message to survive, no matter what your plight.
• Does the film boast a great and strong director? Steve McQueen has certainly been noted for his work with this film, but otherwise his filmography is largely made up of short rather than full-length films. This suggests that he has great directing experience, but it is yet to be seen if he is truly a great and strong director who can produce quality films multiple times over.
• Does 12 Years a Slave have the “re-watchability” factor? Does the film give audiences that “feel good” feeling? This is the point at which its position falters somewhat. While 12 Years is very well done and accomplishes sharing Solomon Northup's account accurately, it does not feel like a film to be watched over and over. It has the many nuances of good film, but there are not many people who could watch Northup be beaten and half hanged every weekend.
• Is there enough audience affection for the film? At this point with our national focus on equal rights for all people, Northup’s story can certainly stir affection in audiences. It is both tragic and inspiring, a dark spot we must acknowledge from our past, as well as a story of survival and overcoming oppression.
• Is 12 Years too much of its own time? Furthermore, does it stand the test of time? Being a period film, the cinematography was focused on keeping the authenticity of 1840s-1850s America, even with its early twenty-first century release. Therefore it does not feel too much of its own time. It still seems too early to tell whether the film can stand the test of time.

[10] The film industry is a giant of recording and preserving our culture, giving us the gift of seeing into the past, acknowledging our present, and moving into the future. The films we consider to be Classic have endured through generations, and, maybe not surprisingly, many of them have some level of historical content. This suggests the importance of historical films, like 12 Years a Slave, because they allow us to better understand ourselves and continue on through learning from our past's examples. Ultimately, while 12 Years is receiving acclaim and recognition for its accomplishments, its Classic status would more likely be based on its historical significance and continuation of important modern discussions, rather than its ability to continuously entertain audiences across generations. The film has great historical magnitude and may indeed be an “instant Classic,” but only time will tell.

Works Cited

"American Film Institute." American Film Institute. 2016. Web. 24 Apr. 2016. www.afi.com

"Classic." Merriam-Webster.com. Merriam-Webster, n,d. Web. 24 Apr.2016.

"Defining 'Classic' Movies." Reel Classics: The Classic Movie Site . Apr. 2003. Web. 24 Apr. 2016. http://www.reelclassics.com/Articles/General/definingclassic-article.htm

"Five Things That Define a Classic Film." MovieFanFare 30 Dec. 2011. Web. 24 Apr. 2016. http://www.moviefanfare.com/five-things-that-define-a-classic-film/

Gunning, Tom. "Making Sense of Films," History Matters: The U.S. Survey Course on the Web. American Social History Project, Feb. 2002. Web. 3 May 2016. http://historymatters.gmu.edu/mse/film/

Reel Classics: The Classic Movie Site. Reel Classics LLC. 09 June 2011. Web. 24 Apr. 2016. www.reelclassics.com

"The Role of Film in Society." Thought Economics. 2011. Web. 24 Apr. 2016. https://thoughteconomics.com/the-role-of-film-in-society/

Svetkey, Benjamin, and Andy Lewis. "Hollywood's 100 Favorite Movie Lines." Hollywood Reporter, 11 Mar. 2016: 68+. Popular Culture Collection. Web. 23 Apr. 2016. http://www.hollywoodreporter.com/lists/best-movie-quotes-hollywoods-top-867142

Weeks, Linton. "As Time Goes By, What Makes A Movie Timeless?" NPR. National Public Radio, 22 Jan. 2014. Web. 24 Apr 2016. http://www.npr.org/sections/theprotojournalist/2014/01/22/264521244/as-time-goes-by-what-makes-a-movie-timeless