A Multi-Generational Look at Films

“Here’s looking at you kid”. Casablanca was an overnight sensation amongst general audiences. Many had never seen the level of intimacy that existed between Bogart and Bergman in the film. Additionally, the many indelible one-liners made the film a definite rewatchable.

Casablanca was a frequent talking point amongst critics because they perceived the film as an excellent propaganda piece against the Axis Powers. The film’s appeal was only further enhanced when the Allies defeated Nazi Germany a couple years later. Thus, the film was considered groundbreaking during the 1940s and 1950s.

The first life of a hit film lasts between 10-15 years following the release. This span can be analogous to any “new thing” that remains in the spotlight for a while, but eventually fizzles. However, because a film never completely fades away, it has multiple lives.

A film’s second life is 30-45 years after the release. It is no longer just loved by those that grew up with it; it is revered. People that grew up in the 1940s and 1950s consider Casablanca to be a classic because it brings back nostalgic memories of their younger days. But this impact rarely transfers over to the new younger generation who has little incentive to be exposed to older films. On one occasion, my friends and I were choosing a movie to watch and the bulk of suggestions were of films released in the last five to ten years. When I suggested The Sixth Sense they were surprised that a film with that name had been made. America’s teenagers place a large emphasis on everything “new” in popular culture, such that it becomes difficult for us to explore or appreciate a movie in its context. A few of my peers found nothing noteworthy about Casablanca as it was “just a plain, old love story”. The context to us is unfathomable because we are watching the movie for what it is; not for what it was.

After around 60-75 years, a film begins its third life. The film enters dormancy as almost everyone that grew up with it is probably no longer alive. So what are we left with? A younger generation with minimal exposure, if any, and thus the film has metaphorically been removed from popular culture. Because of changes in societal conventions and film technology, there is little patience to watch an older film. This holds true for any film between the 1920s and 1940s. Not only were they all black and white, but some did not even have sound. In a world where audio-visual communication is so mainstream and filmmakers can create movies in 3D and 4D, it is unfathomable to watch a film that lacks speech. Someone like Charlie Chaplin is well known for his comic allure, yet his films have been completely overlooked by our generation. The only saving grace is that amongst film nerds and critics, his films are still appreciated.

The last life is a wildcard. There are only two types of films that have this life; films with everlasting relevance and those that relate to specific demographics. Many dystopian films have had a large impact on future generations. Star Wars and E.T. have been enjoyed by several generations as their employment of technology and science fiction had a futuristic vision that is somewhat comparable to where society is heading. Films that relate to specific demographics, like Heathers, Mean Girls, and Clueless are highly valued by my classmates because their plot pertains to where we are in life. Therefore, some films have a fourth life that makes them immortal.

But these lives all say one thing: if we had Marty McFly’s time machine, maybe today’s generation could visualize different time periods and thus appreciate older films.