{"id":4341,"date":"2015-07-29T23:59:01","date_gmt":"2015-07-30T02:59:01","guid":{"rendered":"http:\/\/www.culturedallroundman.com\/?p=4341"},"modified":"2015-08-27T11:07:46","modified_gmt":"2015-08-27T14:07:46","slug":"notes-on-the-20th-anniversary-of-clueless","status":"publish","type":"post","link":"https:\/\/culturedarm.com\/staging\/5793\/notes-on-the-20th-anniversary-of-clueless\/","title":{"rendered":"Notes on the 20th Anniversary of Clueless"},"content":{"rendered":"

\"Clueless2\"<\/a><\/p>\n

This month Clueless<\/em> turned twenty.\u00a0Amy Heckerling\u2019s film, starring a cast led by Alicia Silverstone, was released in American cinemas from 19 July 1995. It would not appear on movie screens in Europe until the autumn: crossing the Atlantic to arrive in the United Kingdom and Ireland on 20 October, it spent the next six months working its way across the continent and beyond. But despite its ensemble of largely unknown young actors, and a modest forty-day shooting schedule and budget of $12 million, Clueless<\/em> proved a\u00a0surprise summer hit.<\/p>\n

On its opening weekend from 21-23 July, playing in 1,653 theatres, it made a total of $10,612,443: ranking second, behind only Apollo 13<\/em>. It eventually grossed $56,631,572; but\u00a0the numbers, along with the positive early\u00a0critical reception which Clueless<\/em> received, pale in comparison to the film\u2019s enduring influence and appeal.<\/p>\n

Released with the world on the cusp of the takeover of mobile phones and the internet, the film\u2019s poster features its three prominent females \u2013 Cher, played by Silverstone; Dionne, played by Stacey Dash; and Tai, played by Brittany Murphy \u2013\u00a0posing with mobiles to their ears, hardly sleek, but far from the bricks of the early 1990s, with Cher\u2019s showcasing a flip cover. In this context\u00a0the material and technological\u00a0aspects of the film bear enough similarities with our lives today to remain clearly translatable and relevant, while avoiding the sort of online fixation which a more recent movie like Easy A<\/em>\u00a0navigated well, but\u00a0could have detracted from the tangible and still plausible spontaneity of Clueless<\/em>.<\/p>\n

Some of the slang uttered by Cher and her contemporaries has faded:\u00a0despite Alec\u2019s popularity on the back of his performances in 30 Rock<\/em>, teenage girls today are unlikely to refer to an attractive young man as \u2018a Baldwin\u2019; \u2018Audi\u2019 is out not only in meaning; and \u2018buggin\u201d and \u2018wiggin\u201d are no longer commonplace. \u2018Boinkfest\u2019, \u2018as if\u2019, and certainly \u2018keeping it real\u2019 remain sensible, if less often expressed. At least \u2018whatever\u2019 remains relatively constant, though perhaps used more deliberately, and sans the associated hand gesture.\u00a0The fashion of Clueless<\/em> continues to set a precedent, from plaid skirts and knee-high socks to low-hanging trousers.<\/p>\n

Beyond the pop-cultural associations, the essential enchantment of Clueless<\/em>\u00a0was quickly embraced by Silverstone. In Jen Chaney\u2019s As If!: The Oral History of Clueless<\/em>, published by Touchstone earlier this year, and excerpted by Vanity Fair<\/a>, Silverstone remarks:<\/p>\n

\u2018I remember when I read the script the first time, thinking, Oh, she\u2019s so materialistic \u2013 that I was judging [Cher] instead of being delighted by her. I remember thinking, This is so funny and I\u2019m not funny. But once I was playing her \u2013 I just had so much fun being her.\u2019<\/em><\/p>\n

Silverstone had starred in three music videos for Aerosmith and as the leading female in the psychological thriller The Crush<\/em>\u00a0\u2013 released in 1993 and starring Cary Elwes \u2013 when she won the part of Cher Horowitz. Her co-star Paul Rudd, who after a protracted casting process earned the part of Cher\u2019s stepbrother Josh Lucas, was less well-known and little more experienced. After a couple of television roles, he made his first foray into film with the sixth installment of the Halloween<\/em> franchise \u2013 although that movie wouldn\u2019t come out until after Clueless<\/em>, in September 1995.<\/p>\n

While Rudd has gone on to become a cornerstone of Hollywood \u2013 playing Phoebe\u2019s partner in\u00a0the later seasons of Friends<\/em>,\u00a0progressing to comedic roles in films including Anchorman<\/em>, Knocked Up<\/em>, and This is 40<\/em>, and currently headlining theatres as the titular character of Marvel Comics\u2019 Ant-Man<\/em> \u2013 Silverstone is still intimately identified with what remains her biggest hit. She continues as an\u00a0actor on the big and small screens and on the stage, but her lack of star turns since Clueless<\/em> has only helped to crystallise her performance as Cher. Clueless<\/em> endures both as something of a coming-out party, and as an encapsulation of a moment in a young woman\u2019s life.<\/p>\n

Like Raging Bull<\/em> with regard to the genres of sports and biographical film, Clueless<\/em> balances \u2013 more poised, but just as adroitly \u2013 on the lofty summit of a realm which it reshapes and surpasses. Without entirely glossing some of the prospective troubles and pitfalls,\u00a0it depicts the effortless fun, the quick and facile wit, and the burgeoning potential of high schoolers moving towards their late teens.\u00a0Lighter than the five peanut butter M&M\u2019s which make Cher feel like \u2018a heifer\u2019, the film possesses that lightness, that\u00a0deftness of touch, which characterises some of the greatest works of art: the novels of Jane Austen, from whose <\/span>Emma<\/em> the plot of <\/span>Clueless<\/em> was loosely drawn; the <\/span>poetry of Pushkin<\/a>; and especially the drawing room and screwball comedies of the 1930s and early 1940s, like <\/span>Bringing Up Baby<\/a><\/em> and <\/span>The Philadelphia Story<\/em>.<\/span><\/p>\n

One of the ways in which Clueless<\/em> plays with the high school movie formula is by satirising it, and eschewing its conventions. As in Austen\u2019s\u00a0Emma<\/em>, Clueless<\/em>\u2018s heroine assumes the role of matchmaker and makeover artist for those lacking her presumed worldly grace; while she\u00a0foregoes both the high-school stud and the exotic newcomer, falling in love instead with her intellectual but somewhat nerdy, stay-at-home stepbrother. Yet films before and after Clueless<\/em> have satirised the form of the high school movie, and in fact from Heathers<\/em> to Election<\/em> and on, it is hard to find a straight telling that doesn\u2019t attempt to undercut the idea that this is the time of our lives, or parody the focus on appearances or high school\u2019s strict social stratification.<\/p>\n

What distinguishes Clueless<\/em> is that its high school drama is not a front for a satirical point of view. Instead it works in the opposite direction, its lithe satire providing a diaphanous\u00a0cover for what amounts to genuine depth of feeling. Through Heckerling\u2019s writing, the characters of Clueless<\/em> are never judged, and rather than mocked or encoded to score certain points, they are shown as sharply intelligent and self-aware. This is most overt in Murray\u2019s discourse on feminine pronouns and street slang as \u2018an increasingly valid form of expression\u2019; but it is a quality Cher and the others share throughout.<\/p>\n

This isn\u2019t to say that the characters themselves \u2013 much less the actors playing their parts \u2013 are \u2018knowing\u2019, in the sense of acutely aware of the satirical value in their words and actions. None of them ply a trade in irony: they are too confident and carefree for that. It is simply that, as brightly conscious individuals, they readily embrace the connectedness of life, and some of its gentle absurdity. More, they are intuitively attentive towards the needs and emotions of others.<\/p>\n

Cher is undoubtedly self-absorbed to a degree: called selfish by Josh early in the film, he makes a selfless act impossible for her when he challenges, \u2018If I ever saw you do anything that wasn\u2019t ninety percent selfish, I\u2019d die of shock\u2019. Cher responds, \u2018Oh, that\u2019d be reason enough for me\u2019. But she is also changeable, strong-willed but flexible, and soon seeks,\u00a0full of optimism, to provide a helping hand. The same social impulse that drives her to renegotiate her faltering grades spurs her friendship\u00a0with Tai, her endeavour to bring together Mr. Hall and Ms. Geist, and her fledgling relationship with Josh.<\/p>\n

Rather than following a standard Hollywood narrative \u2013 in which a hero or heroine must face and overcome some central obstacle or crisis \u2013 Clueless<\/em> progresses through minor dilemmas, soon resolved. At various points we may wonder whether the film is going to become the turmoil\u00a0of Cher\u2019s grades, of Elton\u2019s misdoing, or of the strain between Cher and Tai. But these issues are dealt with agreeably and we move on, and the romance between Cher and Josh emerges organically, towards the end of the film.<\/p>\n

In addition to the ingenuity and to the complementary characteristics of the cast, and to Heckerling\u2019s stellar writing and direction, Bill Pope\u2019s cinematography deserves credit. Clueless<\/em> is a joy to look at: with its bold colours; compositional savvy in group shots, which sometimes feature quick cuts or pay homage to old cinema and works of art; and maximal use of sunlight. The film looks\u00a0forever fresh and vibrant.<\/p>\n

At one point Cher takes pause, impressed by the diversity of her friends\u2019 qualities and interests. And through Josh and his connection to college life, the impact of her school teachers, Christian\u2019s passion for art, Dionne\u2019s expertise in matters of fashion and fragrance, Murray\u2019s playful streetwise sensibility, and Travis\u2019 engagements with skateboarding and soft drugs,\u00a0Clueless<\/em> boasts a wide range of references. These extend beyond the contemporary world which the film so compellingly depicts, to cover everything from Haitian immigration to the Bosnian War; Hamlet<\/em> and Nietzsche; Billie Holiday, The Wizard of Oz<\/em>, Spartacus<\/em>, and the Rat Pack.<\/p>\n

Clueless<\/em> is also a repository for songs. The film\u2019s soundtrack was certified gold within a year of its release, and eventually sold enough to go platinum.\u00a0In April this year, it was re-released by Universal on special anniversary-edition yellow-and-black-plaid-printed vinyl. Songs lift and cheer scenes throughout the film; and the selection of music has proven especially pertinent, because it succeeds in affirming without being restricted by the era.\u00a0Surely few people listen today to Lightning Seeds or even early-90s Radiohead \u2013 but they still made some nice songs, which suggest the time without colouring it or demanding recollection.<\/p>\n

\u2018Tenderness\u2019 by General Public stands as one of the best-chosen closing tracks\u00a0for any film. But if Clueless<\/em> has one signature song, it is perhaps \u2018Supermodel\u2019 by Jill Sobule. It opens, \u2018I don\u2019t care what my teachers say \/ I\u2019m gonna be a supermodel\u2019, and Sobule and others have often cast the song as a satirical gesture. In this case it achieves the opposite of its purpose: revelling instead, like Clueless<\/em>, in youthful certainty, bold self-expression, and surging light-hearted optimism.<\/p>\n","protected":false},"excerpt":{"rendered":"

This month Clueless turned twenty.\u00a0Amy Heckerling\u2019s film, starring a cast led by Alicia Silverstone, was released in American cinemas from 19 July 1995. It would not appear on movie screens in Europe until the autumn: crossing the Atlantic to arrive in the United Kingdom and Ireland on 20 October, it spent the next six months 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