Why You Must Be Careful With Nostalgia

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Scene from Stranger Things

If you’re anyone who spends time around social media, you’ll know how big of a deal Netflix’s latest series Stranger Things was. The eight episode series dropped last Friday and has quickly gathered a string of great reviews, and endorsements from the Master of Horror: Stephen King. The show is a nice departure from the lengthier Netflix series, which helps it benefit as one of the few shows worthy of binge watching, which each episode providing a supernatural twist. However, there is one side of the coin that may be a bit disconcerting: nostalgia. For many, part of the show’s appeal is that there’s countless references to King, John Carpenter, various Amblin films, and other 80’s horror mainstays. While it enriches the world, is it possible that nostalgia is a crutch of sorts? While Stranger Things isn’t the worst offender, one could argue: is making something nostalgic a good thing?

The truth is that nostalgia is great. At certain points in our lives, we’ve had a fondness to revisit another period of our lives, looking back on it fondly as when life was great, or effectively different. While sometimes it’s just a result of clouded judgment piecing together memories that aren’t entirely accurate, there is something comforting about looking back on those times. For most people, that’s through cinema. People rewatch films like Star Wars because it connects them to a childhood naivety. Same could go for any facet of life, including those who have a longing to revisit a decade long passed. After all, it is why time travel stories remain so prescient. Still, there is plenty to be intrigued about by exploring the past.

In the case of Stranger Things, one could easily look at the 80’s as a decade that is almost defiantly unique. If someone asked you to define something that’s “So 80’s,” you’d likely pull out Ronald Reagan, Madonna, Flashdance, neon clothing, and big hair. It is a time that seems strangely held in both reverence and ridicule depending on how you like your cheese. This isn’t to say that this is all that the decade had. That would be like saying that the 60’s was nothing but The Beatles when in fact they only came midway through the decade. Still, to say someone is nostalgic for an era is often to talk about the specifics, such as inferior technology or beliefs that have faded into the “You can’t do that today.” mindset that seems to make certain pop culture touchstones fascinating. To some, it’s an isolating artifact that cannot be fully appreciated unless you were there.

In recent years, the 80’s have had a particular resurgence in favoritism. While it has always been there, such as in The Wedding Singer, one can look at shows like The Goldbergs or even the latest Richard Linklater movie Everybody Wants Some!!, and see something thrilling about the period. Even last week’s release of Ghostbusters is inevitably tied to the original film from the 80’s. To say the least, Stranger Things is in good company, and it thankfully shows a side to the cliche 80’s culture that isn’t overblown or frankly embarrassing. It’s the horror side, which was still blending practical effects with sometimes mediocre CG. They were focused on kids getting into peril in ways that felt earnest. One could easily watch the first episode of the Netflix series and think of Steven Spielberg’s foray either as director or producer during this time. The kids have a familiar cadence that people who have seen E.T. will recognize.

This is all well and good, but there’s another side to nostalgia that seems a little crass. As much as era can be used to emphasize what made it great, there’s also the lazy sensibility that calls attention to itself. This is best summarized in Back to the Future where “Chuck Berry’s brother” calls Chuck to tell him about this awesome sound. It is time traveler Marty McFly playing Berry’s most iconic song “Johnny B Goode.” It’s a sly nod that alters history, but also sets a precedent for on the nose references. For classic rock fans, Berry is a mainstay voice of 50’s music. This is nothing more than a pandering joke meant to emphasize the era that the film takes place. We understand it because we know who Berry is. The joke is that we have hindsight where the film doesn’t.

Back to the Future is a successful enough film that this joke actually works. However, there’s been lesser films that have attempted to use it as a wink to the audience. As great as fourth wall breaking story telling can be, it sometimes comes as pointless meandering. This isn’t just in creating regular people into a Nostradamus, but also in laying in references in thick. If you’re going to make 80’s pop culture references, you hit the obvious ones whether they fit or not. It is why you come across on the nose set designs for hip or nerdy teens who also wear certain hip or nerdy shirts. As much as it plays into the era, it takes specific detail and interest to keep it from being more than your stock parody.

So, how can nostalgia be used for good? Stranger Things straddles the lines, as it makes its cinematic references fairly easy for die hard fans of the decade. There’s even some that hang in the background or are used as brief references. You’ll know the ones don’t land because they are jarringly inauthentic. Thankfully, it is balanced enough that it doesn’t matter. However, it’s still hard to pitch this show without calling it retro or throwback. You can call it good, but trying to separate it as an original work and not something nostalgic becomes difficult. Sure, the story is technically original, but one who pieces things together can recognize certain plot devices stolen from King or Spielberg, and the music cues sometimes borrowed from Carpenter. This isn’t bad. The best of cinema borrows from each other. The real question is if the reference is being served as something that logically progresses story, or merely reminds us of the period that we’re in.

For the sake of reference, I will turn to another relatively “nostalgic” show: Mad Men. Over seven seasons, the show chronicled Don Draper’s job at an advertising agency throughout the entire 60’s. It makes sense then that the music cues are era appropriate. The sets have to look a certain way, and even creator Matthew Weiner famously got upset when the ice cubes were the wrong shape. The show is very much a 60’s show in tone and atmosphere, and features your array of big moment stories. There’s whole episodes dedicated to the assassinations of John F. Kennedy and Martin Luther King Jr.. There’s the Beatles invasion. There’s the admiration for films like Rope and the comedy of Bob Newhart. These are all staples that are references to the time. While this is only the surface of a denser reading of the show, it adds to what makes the show more than a retro journey into the past.

That in particular is that the story at hand was on an implicit and later explicit level about the shifting tide of politics and gender roles that came with the time. It had several themes worthy of mention, but it felt 60’s because it was about people who felt like they lived then. You could imagine them in those homes driving those cars and getting drunk at random Los Angeles parties. The various opinions held all feel specific to the time, but also provide depth as to how characters actually feel. Draper rejects The Beatles because they lack his conservative views on a symphonic level. It’s more than an easy reference of how Draper is out of touch. It’s about the danger of the culture around him, threatening to replace him with liberal freedom.

How does this apply to Stranger Things? The truth is that it’s a tad hard to accurately compare the two, as they’re both different genres and running lengths. Mad Men in its first season alone had way more episodes to cover than Stranger Things. However, the core advice is that these type of shows that rely on periods needs to be about the people first and the culture second. We need to feel like the kids in the Netflix series are fans of J.R.R. Tolkien and not just saying they are because the mythical “Tolkien’s brother” character said they would. Thankfully, it does make sense, and a lot of the references are merely there to sugarcoat a solid mystery.

Is nostalgia bad? Not necessarily. It makes you feel good and it does embrace a bygone culture. However, it does get treated as a crutch way too often, serving as its own form of trivia for viewers. It’s why certain films have failed, no matter how passionate the filmmaker claims to be of the era. Few take the time like Mad Men to embrace the time while also being about something more. It isn’t important to know what these characters like, but what they do. In 2016, most people reading this are fans of something that likely would make for a good piece to their life story. It could be a band or movie. It’s important to help create a singular character, but it cannot be the defining feature. It’s only then that nostalgia goes from pretty good to straight up pandering.

Channel Surfing: Divorce – “Pilot”

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Scene from Divorce

Welcome to a new column called Channel Surfing, in which I sporadically look at current TV shows and talk about them. These are not ones that I care to write weekly recaps for and are instead reflections either on the episode, the series, or particular moments. This will hopefully help to share personal opinions as well as discover entertainment on the outer pantheon that I feel is well worth checking out, or in some cases, shows that are weird enough to talk about, but should never be seen.

It has been awhile since HBO has done business with Sarah Jessica Parker, at least on the small screen. Following the groundbreaking comedy Sex and the City, Parker has had a bit of a lull in her career; never quite matching the heights of Carrie Bradshaw’s sex advice-giving writer. She returns to the network with a drama centered around something that likely would’ve faced Miss Bradshaw by now: Divorce. The first episode hits all of the marks in setting up the inevitable fallout between her Frances character and husband Robert (Thomas Haden Church). It may be billed as a comedy, but most of the first episode seems to fall into the melancholic middle ground that is bittersweet as well.

The story focuses around the dysfunction that forms when a party gets out of hand. Host Diane (Molly Shannon) begins yelling at her husband, demanding a divorce. It causes quite the scene, echoing through their fancy home and upsetting a fair majority of the guests. The moment is given levity as Frances and Robert come to terms with their big anomaly. Where Robert believed that watching other people fight would bring them closer, it made Frances believe the opposite. She has been miserable for some time, and seeks to strike out on her own while she’s still young enough to stand a chance.

Divorce hits a demographic that isn’t often covered by HBO. While Togetherness came close with 30-something parents, the sight of watching Frances and Robert realize their misery together makes for a conflict that likely bothers many in their later years. They’re no longer young and full of optimism. They know the game and are worried about anything that could mark an eternity of misery. The first episode, set to an alternative pop soundtrack, manages to find a balance between humor and insular speculation. It hits the discomfort hard, leaving concern for where the remaining show goes. Now that the miserable part is over, what will lie in store for Frances and Robert?

While tonally different, the show does share a similar basis with Grace & Frankie: a show that explores the life after divorce in old age. The show fell more on the broad comedy side of the spectrum, but found a nice balance of emotion alongside the awkward desire to love and have a viable sex life. The only difference is that Parker has yet to proven herself as charismatic as Jane Fonda or Lily Tomlin. Maybe it’s not what the show is going for, but a sidekick would definitely help to make the show more interesting. Maybe it’s Molly Shannon. Maybe it’s someone we haven’t seen yet. Divorce has promise to be a more conventional HBO comedy with the free form melancholic comedy that seems so popular in a post-Louie world. Then again, there are moments that play like Sex and the City voice-over, directing the audience how to feel. It may be unintentional, but it does show how pigeonholed Parker’s reputation has become.

The first episode is very engaging and likely will appeal to an older demographic who knows the pains of divorce. The show definitely has a maturity about the subject so far that makes the comedy seem secondary. Even then, there’s potential for the show to expand and find new territory to mine for enlightenment in older age. What can be experienced when divorce frees you of a spouse that was holding you back? The pilot does plenty to fill in the bitter gaps. Now it’s time to see if the show will do anything with their new found freedom.

Alternative to What: “Brooklyn” (2015)

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Saoirse Ronan in Brooklyn

Welcome to Alternative to What: a weekly column that tries to find a great alternative to driving to the multiplexes. Based on releases of that week, the selections will either be thematically related or feature recurring cast and crew. The goal is to help you better understand the diversity of cinema and hopefully find you some favorites while saving a few bucks. At worse, this column will save you money. Expect each installment to come out on Fridays, unless specified.

THIS WEEK:
Brooklyn (2015)
– Alternative To –
The Accountant (2016)

If there is one thing that’s obvious, it’s that being an accountant is one of the lamest jobs that you could have in cinema. What is there really to do besides crunch numbers and hit buttons? While there have been some iconic accountants throughout cinema, the reality is that few rise above mediocre people obsessed with their job. Ben Affleck’s latest The Accountant attempts to turn that into an exciting profession by adding espionage and international incident to the table. The only question from here is: who cares? Considering that Affleck has consistently risen between prestigious Oscar bait and nonsensical films like Batman v. Superman, one must wonder where The Accountant falls on that spectrum. Frankly, it looks too dumb to really be good.

However, one doesn’t have to go too far back to find an accountant that is actually worth watching. Last year’s Brooklyn is a film about an Irish immigrant who falls in love with a man in New York and becomes conflicted about returning to her homeland. Does she return home, or enjoy the new happiness that she has while working and befriending her peers in a women’s boarding house? There’s a lot of simple questions, and ones that become explored in light and a bit quaint ways. It’s a drama about heritage and identity, showing the struggles that come with culture in a new land. It may not seem like much, but it does help when the cast is charming and knows how to make the most of an earnest story.

Saoirse Ronan is at the center of the film and adds a certain weight to her hesitant performance. She seems to speculate through her eyes as she nervously navigates New York. It is a personal time, and one that gives heartwarming affirmation to her life. It’s humorous and tender. Brooklyn doesn’t have much in the way of major stakes, but it achieves the field of light drama with enough memorable moments to make it worthwhile. Is it the best immigrant story ever? Not exactly. However, it does have plenty of character – and that is often overlooked in films like this.

So, what does Brooklyn have to do with accounting? Ronan’s character is pretty good at the profession, even if her American job doesn’t give her the most chances to use it. The third act centers largely around her capabilities as an accountant to improve the work environment in Ireland that she came from. She is a hero. She makes everything better in a way that causes the viewer to feel like she would be of better use back home. Yet why would she want to stay in her homeland? The questions pile up and soon the answer isn’t simple yes or no questions. These are the personal issues that face everyone at some point in their lives. This one just happens to be told elegantly.

So while The Accountant looks to be a boring film that focuses around accounting as a means to an end, Brooklyn is a film that only uses it as a smaller part of a larger identity. She isn’t defined by her skills solely. She is more of a fleshed out character and is given freedom to try new and exciting things. Good luck seeing Affleck do that, especially with international business on the table. Even then, the general profession of accounting isn’t the most exciting to watch. There has to be more to the character, and it looks like Ronan may have the upper hand in that respects.