Hereditary, 2018
I am someone who rewatches everything. I like to go back and see what I missed, see if there are any hidden details, and most importantly enjoy that film or show again. Sometimes I can rewatch a film five times over and every time enjoy it more than the last (Ari Aster’s Hereditary (2018), for example) but sometimes, a rewatch can change my entire perception of a film.
Initially, Greta Gerwig’s 2017 feature film Lady Bird left me feeling disappointed. I found the narrative confusing, the ending abrupt, and most of all, I just didn’t like it. However, I couldn’t seem to get it out of my head. I kept thinking about the parts of it that worked, the parts of it that didn’t, and the parts that just didn’t seem to make any sense to me. For example, the story seemed rushed. Although it appeared to be presented in a series of interconnecting vignettes, each one came across as unresolved, resulting in the end product feeling disjointed and messy. Additionally, the characterisation of the film’s title character, Christine ‘Lady Bird’ McPherson, came across as stereotypical of the coming-of-age genre, and the story itself seemed stale. Upon reflection, I realise now how significantly this first impression actually contributed as to why I left the cinema feeling so cheated.
Lady Bird, 2017
I had expected, and to some extent wanted, to see a cheesy movie about first loves and high school dances. Films like Howard Deutsch’s Pretty in Pink (1986) and Stephen Chbosky's The Perks of Being a Wallflower (2012) are the types of films that shaped my more formative years, and therefore the more unconventional presentation of a genre I hold so close to my heart naturally left me more disgruntled than most. In a lot of coming of age films with a female protagonist - such as Mean Girls (Mark Waters, 2004) and Dirty Dancing (Emile Ardolino, 1987) - there is a heavy focus on romance, and the protagonist falling in love. Whilst this is an aspect of Lady Bird, the film’s narrative is centred more around her academic endeavours - a personality trait that is so rarely represented on the screen. For example, in other coming of age films such as Heathers (Michael Lehmann, 1988) and The Breakfast Club (John Hughes, 1985) the focus on academia, although clearly present, is often undermined by a romantic attraction. Despite the fact that this trope is outdated and perpetuates unhealthy ideas surrounding relationships and self-worth, it’s still one I indulge myself in often. So whilst initially feeling underwhelmed, further screenings of Lady Bird revealed it’s true brilliance to me and I realised how well the film works as a criticism of the coming of age genre and as an example of why you should never let your first viewing of a film be your only.
Lady Bird, 2017
It can be the case, however, that a second viewing can change your opinion of a film for the worst. Take, for example, John Eric Dowdle’s 2014 feature, As Above, So Below. This film is a found-footage style thriller based in the Paris Catacombes. We follow Scarlett as she attempts to finish her late father’s work with the help of close friends Benji and George, as well as a trained group of Catacombe explorers. I watched this film for the first time after hearing so many great things about it from my partner and his friends, and so I went in expecting to see a masterpiece of film and I came out feeling as though I had. I was enthralled by the acting, the set design, and the thought that went into it and so naturally I couldn’t wait to give it a second viewing.
After a second watch, a good few months after my first, I hated it. Everything was far too convenient for Scarlett, portrayed by actress Perdita Weeks, and she had no obvious flaw that could aid in character progression. Additionally, there was no danger. Nothing bad ever happened to Scarlett, nor did it ever threaten too. Never once did she get in trouble for the many wrongdoings she so proudly records and she doesn’t seem even slightly remorseful when people die for her cause. It can be argued that the found-footage nature of this film lends itself to an unreliable self-centred narrator and that perhaps audiences didn’t see Scarlett in her moments of grief, however, I have to say I don’t think this is the case. Even when we see footage from other character’s point of view, we are still watching Scarlett.
As Above, So Below, 2014
It seems wasteful to put together a group of so many interesting and layered characters and have the focus be on only one. Furthermore, the film seemed to too heavily rely on the genre conventions of psychological thrillers in order to actually add tension to its scenes. The found-footage aspect, which is arguably best portrayed in The Blair Witch Project (Eduardo Sánchez, Daniel Myrick, 1999), is a tool that can be employed to disorient audiences and hide things in the shadows so to speak. This, coupled with the films recurring theme of claustrophobia similar to The Descent (Neil Marshall, 2005), is a great way to add confusion and lingering unease, however in As Above, So Below these tropes fall flat as there isn’t any real threat or antagonistic force. It’s a shame as I enjoyed my initial response to this film, but now I can recognise that I watched it through rose-tinted glasses - I had wanted it to be good and so it had been. Watching a second time, knowing what to expect and therefore having no expectations, revealed to me why As Above, So, Below just isn’t all that it’s cracked up to be.
You might be someone who only watches a film once and steps away from it in order to protect your enjoyment, and that’s okay. However, if you see a film that just doesn’t excite you or maybe left you confused and disappointed, watch it again. It could be that maybe that film just isn’t good, and that’s okay too, or it could be your new obsession. Film is a subjective medium, there’s no one size fits all, and what you enjoy could very easily be what someone else despises.
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