It’s coming around again – spring semester at the college where I teach will begin on February 29. It’s my fifth semester of teaching Screenplay Writing there. And though I worked in entertainment for most of my professional life, where writing was basically what I did, let me tell you – you don’t know a subject well until you’ve taught it.
“We teach what we need to know,” goes the old saying, and I don’t think there is a truer one.
As a result, I’ve been thinking about movies a lot lately. The films I show in class are mainly the old classics. I do this because my job, as Miss Jean Brodie says in the 1969 film, is “to put old heads on young shoulders.” And it’s consistently surprising how many of my students – born in the early 90s, for the most part – have never seen a movie made before 1995. Their idea of a fabulous old chestnut is “Titanic” (not the one starring Barbara Stanwyck, mind you, but the one with Leonardo and Kate!) When I showed them “Some Like It Hot” last semester, when we were discussing comedy, I was shocked to learn that only two students out of twenty-five had ever seen a Marilyn Monroe film. Most depressingly, they adore slasher, zombie and teenage romance movies. (In fairness’ sake I must admit that when they ask me if I’ve seen whatever pimply romance is currently playing at the Cineplex, or the latest film displaying the latest medical pornographic effect that is currently demeaning our culture, my face becomes as blank as theirs.)
And though they aspire to write, only a few of them read for pleasure. Now I ask you – if they don’t read – if they don’t know literature – what are they going to steal from? From what sources are they going to fill up their proverbial “tanks”? When I tell them that Homer probably solved their problems three thousand years ago, they tell me they didn’t know that “The Simpsons” had run for that long.
(You can always tell who the teacher is in class these days – s/he’s the old gray haired figure quietly weeping in the corner.)
Therefore, the films I show them in class make up a pretty eclectic list, not at all drawn from the well-known classics of screen art. Instead, I try to pick films that were based on great plays or great books, so that at least they’ll be exposed to the books or plays in some way. I start first with “The Heiress”, which covers both books and plays; it began as Henry James’ “Washington Square”, then became a play on Broadway, and then went to the screen directed by the sublime William Wyler and starring Olivia de Havilland, a role for which she won a very deserved Oscar for Best Actress.
An interesting story about “The Heiress” was that it was supposedly the film that inspired a young Martin Scorsese to become a film maker. It seems that he went to see the companion feature at the neighborhood theater, a Western, but became so mesmerized by Wyler’s film that he stayed until its last performance of the day. He had never seen a film so violent, he said.
For the first couple of semesters I taught, I introduced the film with this story. But then I had to explain who Martin Scorsese was and it ended with me weeping in the corner again. Now I use “The Heiress” to introduce the concept of “conflict”, which is, of course, the essence of storytelling. I tell them that you don’t need yellow explosions, or guns, or knives, or flesh-eating zombies to create conflict – that Martin Scorsese was just as enthralled by the emotional violence exhibited by the characters inhabiting “The Heiress”.
And then I start the film.
It already has several strikes against it in my students’ eyes – the first is that it’s black-and-white and they don’t like that; the second is that it’s a costume drama, and that bores them; the third is that they know none of the actors.
But by the end of the film they are standing up and shouting at the screen when Catherine Sloper jilts her faithless lover, played by Montgomery Clift in his very first role. For many of them, “The Heiress” is the story of love betrayed that hooks them. For others, it is about the derision and coldness displayed to Catherine by her cold-blooded father, who humiliates and debases her at every turn. For the rest, it’s the revenge taken by Catherine against both her father and her lover that most excites them.
But the point is – it excites them!
And my job is a piece of cake after that.
Brad Geagley 