Despite being the most recent medium of art, film has quickly shot up to our favourite consumption of entertainment. Like with most things we choose our favourites and ‘classics’, that cinephiles to casual watchers agree are timeless. Or at least, ‘worth the watch’. However, the usual list of ‘classic’ films can be quite limited in terms of genre, story and social effects. It could certainly do with some more modern inclusions. Here then, are five examples I’d argue can be held in the same calibre.
Blues Brothers (John Landis, 1980)
More often than not, musicals are overlooked for being heralded as ‘great’ movies. The story of Jake and Elwood Blues defies this notion for the originality of their wild narrative. The film begins with a ‘mission from God’ story. Jake is released from prison and he and his brother get their band back together. The goal: to raise money to save the orphanage where the two grew up.
While this film is goofy and incredible, the cohesion of all its elements ensures there’s never a dull moment. Landis’ ability to take Jake Belushi and Dan Aykroyd’s SNL skit to a 2-and-a-half-hour film is impressive. All the while, he continues to keep the audience enraptured by their adventure. The deadpan characters of Jake and Elwood have the audience rooting for them in the unimaginable trouble they get into. Somehow, they have the entire US armed forces chasing them into a bank – but we just know they’re going to get away with it.
It should be noted that the soundtrack is truly the crown jewel of this film. Landis provides some simply sensational blues stars. The narrative’s simplicity should not be understated; films do not have to be considered ‘great’ for their complexity. Blues Brothers is truly a film all can enjoy while fulfilling the criteria of an appreciated classic.
Get Out (Jordan Peele, 2017)
This film comes as no surprise to be mentioned on this list. Jordan Peele’s 2017 Horror Get Out shook the world when it debuted. Peele’s social commentary rattled audiences, no matter their race. Apart from the social impact the film made, Peele’s first film does not feel like a beginner’s take. The audience feels truly connected to Chris as we follow him in his trepidation to meeting the family of his white girlfriend, Rose.
We doubt ourselves with Chris as things begin to spiral; are we just psyching ourselves out or is this really happening? Peele portrays racism as less extravagant and obvious but with such subtle nuance. Chris has to go based off instinct, which packs a punch in the horror genre where it’s unprecedented. Furthermore, Peele’s use of dark comedy in the film only instils the grim social commentary – of course Rose’s family all first and foremost mention how they love Obama. The combination of wit and dread in Peele’s horror is what makes this such an affecting film. Audiences are left feeling spooked but gain new insight into the racism black people face. It’s the suggestion of many that Peele’s film is a modern classic already.
Spirited Away (Hayao Miyazaki, 2001)
Another underrated genre is animation. While they may be two-dimensional, Hayao Miyazaki’s Chihiro, Haku and many others are as rounded and rich as physical characters. The story is unusual to Western audiences: as Chihiro and her family explore an abandoned amusement park she shortly discovers that the park is a hidden resort for the supernatural. We watch Chihiro navigate through a witch’s curse and the intricacies of working in a spa for the supernatural, while also learning the value of your own name and its importance to self-preservation.
The cinematography of the anime is spellbinding, leaving audiences mesmerized by the carefully drawn animations that Miyazaki and his team painstakingly hand-drew. Miyazaki is known for emulating real-life physical reactions and actions in his work, so when we see Chihiro run it looks far from a cartoon girl as the animations are incredibly realistic. Additionally, the beautiful music from Joe Hisaishi is instantly captivating as it furthers this notion of otherworldliness. This film snatched up multiple awards and it’s obvious why. Its design alone is spectacular, but the narrative is thought-provoking and moving on its own level.
M. Butterfly (David Cronenberg, 1993)
Cronenberg’s 1993 adaptation of the play M. Butterfly is a beautiful recreation that has just as life, depth and emotion as the original play. Though we know Cronenberg for his disturbing horror films, this film shows the variety of emotions he can convey to an audience. The film takes full advantage of having larger sets than a play, providing us with immersive cinematography that compliments the soft moments between our protagonists René and Song through their tumultuous relationship.
Though being one of the more underrated films on this list this should not lower its value – sometimes great films can be overlooked in their time. Being able to create the same intimacy between an audience and the actors in a play is difficult to replicate for the big screen. Yet, Jeremy Irons and John Lone’s final scene together is so compelling it is hard to not feel invasive, as we look in on the last conversation between lovers. Furthermore, this is one of John Howard’s more glossed over scores – it’s no Lord of the Rings kind of fervour but it is a beautiful soundtrack.
Eat Drink Man Woman (Ang Lee, 1994)
Another well-known director’s work that is often overlooked is Ang Lee’s Eat Drink Man Woman. Perhaps this is because the narrative could be disregarded for its simplicity – a story about a family trying to navigate through their lives as a unit as well as individuals. Though set more than 25 years ago it still resonates with audiences as they find themselves in the three girls as well as the father. These characters were all so full, yet Lee ensured that this film did not diverge too much from the plot but instead enhance it.
Lee’s understanding of family relations and the difficulty of talking to one’s family about the future, personal problems or the guilt of leaving the nest is evident as he uses food to unite and bond the family in ways words do not allow. Having dinner forces the family to sit together. Chu’s own relationship with food as a semi-retired chef and the daughters’ own relationships with food are all fronts for their own problems. They become tools to understand themselves and each other. Lee’s ability to make sure the audience sees this makes this an immersive and relatable film that should be considered as one of the greats in film’s short history.
Words by Maddy Bos