All of the good stories have been told. All the good ideas have already been created. There is no originality left, and there is no goodness left in the search for originality. These are pretty much the central tenants of the post-modern world we live in.
But the good news is, in this po-mo wasteland, that if we look at all the good stuff that has come before, all we need to do is mash it together in new and interesting ways to create new and interesting works of art. Everything old is new again.
And this is where we find Easy A.
In the minefield that is John Hughes' resume, there are several diamonds of coming of age films. He is the greatest auteur of the teenage film to date, and I can't see him being superseded at any point in time. Chicagoan high schools have not been examined by anyone else with such detail, insight or poignant The Breakfast Club plays with the archetypes of high school, all forced together in the confines of a weekend detention. And they each learn about each other, and themselves, before the detention in over.
The seminal 80s flick, Ferris Bueller's Day Off has so many dead ends in plot, so many enormous question marks about the relevance of various elements - as Easy A rightly points out, there really seems no point to the street parade with "Danke Shoen" and "Twist & Shout", but it truly is a great deal of fun. Maybe the point is that in adolescents, so much of the stuff that is done has no other purpose than mindless fun.
And my personal favourite, Cameron Crowe' Say Anything. Film makers and TV show creators have been paying homage to this film for decades now. South Park, Greek, Grey's Anatomy, The Simpsons, House and Lost have all made reference to the oh so iconic scene of John Cusack, boombox held aloft on the front lawn, belting out Peter Gabriel. Of course, the one I love best is the Spaced, with Tim and the gang in a stolen army tank, belting out Take That to win back Marcia into the modern urban family. It is such a shame that Crowe then went on to make such steaming piles of crap as Vanilla Sky (and if you haven't seen that film, please never do - it is two and half hours of your life you will never ever get back) and Elizabethtown. He is great with music though - Almost Famous is pretty brilliant, and at least the soundtrack for Elizabethtown is pretty good. But I digress, in a fairly major way.
And all of these 80s cinematic gems get a nod in Easy A, as the pinnacle of all things aspirational in a teenager's life. Judd Nelson's victorious fist pump, as evidence of his emotional connection to a lass. Escape via a ride on lawn mower chariot. And John Cusack, revealing his innermost soul through ghettoblaster speakers.
The premise of the film is basically this: Olive (Stone) lies to her bestie (whom she doesn't really like - it must a teenage girl thing, because I think I remember that sensation) to get out of weekend camping. Her lie involves a steamy date with a older boy, where she loses her V-Plates. News of her de-plating spreads fast, and she is branded all kinds of double-standard-derogatory-names by the viscious rumour mill of high school. The boys of the lower castes of high school get wind of the fact that it is a lie, and she gets all kinds of favours and gift cards to lie to the rumour mill about various sexual favours she performed for them - so they can get sexual kudos. Meanwhile, her social stock dwindles to nothing, as she takes up the Harlot mantle she has been branded with with great aplomb. But then it all kind of falls to pieces. So she uses the power of the internet to broadcast the truth about the whole sordid affair.
Emma Stone is golden in this film. Her spunky attitude and husky voice have easily made her the sexiest thing about both Superbad and Zombieland. She carries the film well, and delivers the sharp and pacey dialogue to perfection. I am always a sucker for fast-paced chat in any kind of pop culture, and when it is rich in double entendres and decorated with 80s film references, all the better! Why her character feels like such a shrinking violet is a complete mystery to me - the girl is smoking hot.
There has been some criticism leveled at Easy A for being a less-than adequate remake of Nathanial Hawthorne's antiquated and dry The Scarlett Letter, a la Clueless/Emma. But I don't think it is a REMAKE of the book - a book I think I studied in Year 10 or 11 (and thought was lame and dumb and stupid. Unfortunately, I didn't find the message inside it with such clarity and poignancy as Emma Stone's character did in this film.) It may well be a relook at the themes and events of the book, through the lens of the 21st century. But even then, the approach to adultery is just a little bit too Overly Judgemental for my liking. I mean, I realise that most of my time is spent with Boys in this here Factory, and the film mostly focuses on the Girls and their perspective. And perhaps in Australia, teenagers have a slightly more cavalier attitude to sexing than in the mostly-white suburbs of California. The whole notion of being branded a "super-slut" after reportedly sleeping with just one guy is a bit difficult to swallow. But I do still know the awesome power of the rumour mill, which is still alive and kicking in West Bubblefuck, even if it is slightly less judgemental in the adultery stakes.
But that is basically the butt of the satire here - people treat sex with such a strange mixture of fear, excitement and hypocrisy, and the human desire for salacious gossip is really its lowest form of entertainment. The twisted Chinese Whispers games of high school actually don't change much as life goes on. It crosses cultures and countries and generations. And it really shows the nastiest side of human nature when it happens. Don't get me wrong, I've been a Grade 1 Gossiper in my time, and have been stung from the rumour mill myself.
The Evangelicals are also susceptible to some scathing parody in this flick. Amanda Byrnes is brilliantly over the top as the incredibly pious and uber-bitchy leader of the God Squad. She seems to have forgotten the Golden Rules of Do Unto Others, and Judge Not... And instead delves into the mucky gossip with great gusto and furious piety. I read somewhere that she came out of retirement for this film. How old is she? And WHY is she retiring? I mean, I know she only has a repertoire of 7 facial expressions, but she is really very good at all of them. The Bible Bashers don't often cop a beating of their own, especially in mainstream Hollywood fodder. And I think it is interesting how the Kumbayah mob are really shown to be shallow and judgemental rather that sharing, caring Christian souls. And when it comes to High School Holier Than Thous, I have seen, and I know where the truth truly lies.
The Real Love Interest (rather than all the Red Herring Fake-Shags) that Olive has is Mascot Todd - the delectably-chested (if tiny-nippled) Penn Badgley, also seen being broody and clever in Gossip Girl. And while he is incredibly good looking and pouty, he still hasn't quite shown any depth of talent, other than skin deep. Really, give me John Cusak any day of the decade.
The highlight of the whole film are the slivers of scenes with Olive's parents. Patricia Clarkson and my super-fave tiny bald man, Stanley Tucci are just delicious in the scenes of suburban bliss. They are the kind of parents that don't get on celluloid very often - witty and slightly awkward but not embarrassing. The biggest difference between Olive's folks and mine is that I still can't extract salacious details about my parents youth from them,but Olive's are all about the overshare.
Oh, and the tagline of the film was already in my everyday vernacular - "Let's not and say we did"
But the good news is, in this po-mo wasteland, that if we look at all the good stuff that has come before, all we need to do is mash it together in new and interesting ways to create new and interesting works of art. Everything old is new again.
And this is where we find Easy A.
In the minefield that is John Hughes' resume, there are several diamonds of coming of age films. He is the greatest auteur of the teenage film to date, and I can't see him being superseded at any point in time. Chicagoan high schools have not been examined by anyone else with such detail, insight or poignant The Breakfast Club plays with the archetypes of high school, all forced together in the confines of a weekend detention. And they each learn about each other, and themselves, before the detention in over.
The seminal 80s flick, Ferris Bueller's Day Off has so many dead ends in plot, so many enormous question marks about the relevance of various elements - as Easy A rightly points out, there really seems no point to the street parade with "Danke Shoen" and "Twist & Shout", but it truly is a great deal of fun. Maybe the point is that in adolescents, so much of the stuff that is done has no other purpose than mindless fun.
And my personal favourite, Cameron Crowe' Say Anything. Film makers and TV show creators have been paying homage to this film for decades now. South Park, Greek, Grey's Anatomy, The Simpsons, House and Lost have all made reference to the oh so iconic scene of John Cusack, boombox held aloft on the front lawn, belting out Peter Gabriel. Of course, the one I love best is the Spaced, with Tim and the gang in a stolen army tank, belting out Take That to win back Marcia into the modern urban family. It is such a shame that Crowe then went on to make such steaming piles of crap as Vanilla Sky (and if you haven't seen that film, please never do - it is two and half hours of your life you will never ever get back) and Elizabethtown. He is great with music though - Almost Famous is pretty brilliant, and at least the soundtrack for Elizabethtown is pretty good. But I digress, in a fairly major way.
And all of these 80s cinematic gems get a nod in Easy A, as the pinnacle of all things aspirational in a teenager's life. Judd Nelson's victorious fist pump, as evidence of his emotional connection to a lass. Escape via a ride on lawn mower chariot. And John Cusack, revealing his innermost soul through ghettoblaster speakers.
The premise of the film is basically this: Olive (Stone) lies to her bestie (whom she doesn't really like - it must a teenage girl thing, because I think I remember that sensation) to get out of weekend camping. Her lie involves a steamy date with a older boy, where she loses her V-Plates. News of her de-plating spreads fast, and she is branded all kinds of double-standard-derogatory-names by the viscious rumour mill of high school. The boys of the lower castes of high school get wind of the fact that it is a lie, and she gets all kinds of favours and gift cards to lie to the rumour mill about various sexual favours she performed for them - so they can get sexual kudos. Meanwhile, her social stock dwindles to nothing, as she takes up the Harlot mantle she has been branded with with great aplomb. But then it all kind of falls to pieces. So she uses the power of the internet to broadcast the truth about the whole sordid affair.
Emma Stone is golden in this film. Her spunky attitude and husky voice have easily made her the sexiest thing about both Superbad and Zombieland. She carries the film well, and delivers the sharp and pacey dialogue to perfection. I am always a sucker for fast-paced chat in any kind of pop culture, and when it is rich in double entendres and decorated with 80s film references, all the better! Why her character feels like such a shrinking violet is a complete mystery to me - the girl is smoking hot.
There has been some criticism leveled at Easy A for being a less-than adequate remake of Nathanial Hawthorne's antiquated and dry The Scarlett Letter, a la Clueless/Emma. But I don't think it is a REMAKE of the book - a book I think I studied in Year 10 or 11 (and thought was lame and dumb and stupid. Unfortunately, I didn't find the message inside it with such clarity and poignancy as Emma Stone's character did in this film.) It may well be a relook at the themes and events of the book, through the lens of the 21st century. But even then, the approach to adultery is just a little bit too Overly Judgemental for my liking. I mean, I realise that most of my time is spent with Boys in this here Factory, and the film mostly focuses on the Girls and their perspective. And perhaps in Australia, teenagers have a slightly more cavalier attitude to sexing than in the mostly-white suburbs of California. The whole notion of being branded a "super-slut" after reportedly sleeping with just one guy is a bit difficult to swallow. But I do still know the awesome power of the rumour mill, which is still alive and kicking in West Bubblefuck, even if it is slightly less judgemental in the adultery stakes.
But that is basically the butt of the satire here - people treat sex with such a strange mixture of fear, excitement and hypocrisy, and the human desire for salacious gossip is really its lowest form of entertainment. The twisted Chinese Whispers games of high school actually don't change much as life goes on. It crosses cultures and countries and generations. And it really shows the nastiest side of human nature when it happens. Don't get me wrong, I've been a Grade 1 Gossiper in my time, and have been stung from the rumour mill myself.
The Evangelicals are also susceptible to some scathing parody in this flick. Amanda Byrnes is brilliantly over the top as the incredibly pious and uber-bitchy leader of the God Squad. She seems to have forgotten the Golden Rules of Do Unto Others, and Judge Not... And instead delves into the mucky gossip with great gusto and furious piety. I read somewhere that she came out of retirement for this film. How old is she? And WHY is she retiring? I mean, I know she only has a repertoire of 7 facial expressions, but she is really very good at all of them. The Bible Bashers don't often cop a beating of their own, especially in mainstream Hollywood fodder. And I think it is interesting how the Kumbayah mob are really shown to be shallow and judgemental rather that sharing, caring Christian souls. And when it comes to High School Holier Than Thous, I have seen, and I know where the truth truly lies.
The Real Love Interest (rather than all the Red Herring Fake-Shags) that Olive has is Mascot Todd - the delectably-chested (if tiny-nippled) Penn Badgley, also seen being broody and clever in Gossip Girl. And while he is incredibly good looking and pouty, he still hasn't quite shown any depth of talent, other than skin deep. Really, give me John Cusak any day of the decade.
The highlight of the whole film are the slivers of scenes with Olive's parents. Patricia Clarkson and my super-fave tiny bald man, Stanley Tucci are just delicious in the scenes of suburban bliss. They are the kind of parents that don't get on celluloid very often - witty and slightly awkward but not embarrassing. The biggest difference between Olive's folks and mine is that I still can't extract salacious details about my parents youth from them,but Olive's are all about the overshare.
Oh, and the tagline of the film was already in my everyday vernacular - "Let's not and say we did"
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