See Part 1 here: Lessons from Underrated Coming of Age Flicks
Even you’re not in school, September feels like a time for beginnings. It’s when you met the people who would become your close friends, bought new school shoes, and settled into a new year.
It’s also when you were a bundle of nerves. Will my classes be too hard? Will I wear the right thing? Will anyone want to hang out with me?
I still feel that way in September, and I don’t think it’s an accident; I still have a lot to learn about life–we all do.
With that in mind, I decided to look at a selection of coming of age films loosely based around school and learning. As an extra bonus, all five films come from female writer-directors.
All I Wanna Do/Strike!/The Hairy Bird (written and directed by Sarah Kenochan, 1998 )
It’s 1963 and headstrong Odette “Odie” Sinclair (perennial 90s coming of age star Gaby Hoffman) is being sent to Miss Godard’s Preparatory School, an all-girl boarding school, against her will. Her parents have discovered she plans to have sex with her boyfriend and believe the all-girl environment will keep her safe from boys. It’s this tension between ambitious girls and their growing attraction to men that sets the films conflict in motion.
At Miss Godard’s, Odie joins the D.A.R. (Daughters of the American Ravioli), a group of girls (including Kirsten Dunst) with the shared belief that they can be more than wives and mothers. When they discover plans for the school to go co-ed, the D.A.R. girls are torn. They like boys and want them about, but at the same time are concerned that the pressure to look good and appear feminine would detract from their learning. In addition, they believe the teachers will concentrate on teaching the boys as their education is seen as more important. First, they try to sabotage the plans and make the boys at a near-by school appear as sex-crazed drunks, then they take over the school and hold a strike.
Writer/director Sarah Kenochan based the film loosely on her own school experiences in that period and it definitely feels true to life. In addition to being immensely quotable (“Up Your Ziggy With a Wa-Wa Brush!”), it’s packed with memorable, off-beat characters and great 60s fashion. Though it’s set in the 60s, the central conflict of girls fighting for the quality of their education and their ability to be successful career women is something we can all relate to.
Lesson: Though many think otherwise, feminism doesn’t mean hating men. You can have crushes and romances without giving up your self and your ambitions. It may have been harder to learn these lessons in the 60s, especially as they didn’t always appear true, but unfortunately women are still fighting for recognition of these basic truths.
Emporte-Moi/Set Me Free (directed by Léa Pool and written by Pool, Nancy Huston, Monique H. Messier and Isabelle Raynault, 1999)
In 1963, the Canadian province of Quebec was having a crisis of identity (and many feel it still is). Much of the population felt they needed to their own country rather than a part of Canada. This identity crisis is mirrored in teenage Hanna (Karine Vanasse). Her life is marked by in-betweens: she is not a child or an adult, she is not technically Catholic or Jewish (as her mother is Catholic and her father is Jewish), and as she begins to experiment, she finds she is neither straight nor gay.
She attempts to create an identity for herself by imitating her favourite film star, French New Wave star Anna Karina in the Godard film, Vivre Sa Vie. In one scene, the film cuts between shots of her and Anna Karina doing the same dance. This imitation gets her into trouble when she experiments with prostitution, which she sees as romantic because of Karina’s role in the Godard film, and is raped. After her attack, she finds her own voice by picking up a video camera and creating her own images.
The film feels earnest, identifying its main characters as a clearly working class family, several of whom are struggling with depression and highlighting the appreciation of movies and music so crucial to teenage dreams.
Lesson: You are never going to fit into an image. Your glamourous stars may have tragic pasts, you may have uncool conflicts and interests. Our favourite characters and stars even have fictional, streamlined images meant to tell us the stories we want to hear. They’re never as awkward or as painful as real life.
Guinevere (written and directed by Audrey Wells, 1999)
Harper Sloane (Sarah Polley, now an acclaimed writer-director herself) is Harvard bound and not happy about it. She’s an overlooked younger sister from a buttoned-up, patrician family concerned with status and wealth. Though she plans to attend law school in the fall, she secretly feels uncomfortable about the decision though she’s never thought about what other kind of life there could be for her.
Enter Connie Fitzpatrick (Stephen Rea), a 40-something bohemian photographer, and the only person who sees her secret discomfort. They become lovers and Connie invites her to move in with him, his latest in a long line of muses all of which he calls, “Guinevere.” As a Guinevere, she has to learn some kind of art (Connie’s practices are often referred to as a school she will eventually graduate from), and Harper decides to take up photography. She follows him as an apprentice, not out of her passion for it, but because she enjoys seeing what he does. When she begins to enjoy it and gains confidence, however he is weary about even letting her take a single picture.
Guinevere is set apart from other films with similar stories of romance between young girls and older men, by the constant assertion that Harper is 19 and the relationship is between two adults, though they are often posed as teacher and student. Great care is also taken to show the reality of the relationship, as Harper ends up having to work to support him as his alcoholism and bohemian principles won’t let him. He is not a “sugar daddy” that takes her every care away.
Despite this, it’s unclear what the film’s stance on Connie is, as it makes his program look quite attractive. It helps Harper come out of her shell and establish a fulfilling career. When she returns to him years after their break-up, she is very affectionate toward him and sees it as her responsibility to take care of him as he dies.
Lesson: There’s a fine line between discovering your passion and coming into your own. Be sure you’re really discovering who you are, not who others, your family, your friends, even your mentors and lovers, want you to be.
Sassy Pants (written and directed by Coley Sohn, 2012)
To Bethany Pruitt (Ashley Rickards), pink is the colour of oppression. All her life she’s been homeschooled and forcibly sheltered by her impossibly, even cartoonishly cruel mother June (Anna Gunn). June forbids her to go out with people her own age, has as never let her have a job and steals the money she has saved to go to college. Later on, when Bethany escapes, June even tricks her into coming home by telling her her grandmother is dying. As a budding fashion designer, Bethany’s predicament comes to her clearest in the wardrobe full of baby pink clothes her mother has bought for her.
So begins Bethany’s trip to independence. She packs up whatever clothes are salvageable, moves in with her father and his boyfriend and gets a job at a cool clothing shop where she falls in with a bad crowd and finds herself manipulated by a co-worker. But Bethany doesn’t stay down for long, she works hard and enjoys some success designing clothes for a small store. It’s refreshing how the fact that it is very hard to make it in the fashion world is never on Bethany’s mind, she’s just trying to break into its periphery.
The portrayal of Bethany’s mother, June, is the most contentious aspect of the film. She appears to be a terrible mother and possible sociopath through most of the film; however, it’s possible to interpret this view of her as Bethany’s point of view. In the last act, June’s humanity is carefully revealed and she becomes a sympathetic character.
Lesson: Even the worst monsters have their human moments. You don’t have to forgive the cruelty but you can try to understand it.
Dear Lemon Lima (written and directed by Suzi Yoonessi, 2009)
Dear Lemon Lima is a charming story about outcasts fighting back, not with force but with friendship. It follows 13-year-old Vanessa (Savanah Wiltfong), a half Eskimo (note: Vanessa and the other characters refer to her as Eskimo, though this is not usually seen as a politically correct term) girl attending an Alaskan prep school on an ethnic scholarship. Vanessa is uncomfortable with the Eskimo cultural identity because her mother is Caucasian and she does not have a relationship with her father and his culture. It represents otherness to her, so she clings to her whiteness, claiming “I’m from Fairbanks!” as proof of normalcy.
To complicate matters, she has recently been dumped by her boyfriend, Phillip, whom she believes is her true love. They had a very close relationship, where she called him “Strawberry” and he called her “Onion.” The fact that Vanessa sees herself an a onion, sour and not easy to like, is interesting. She yearns to fit in and be popular, choosing to use the ordinary backpack from her ex’s parents over the cool sealskin bag from her grandmother. In school, she finds herself clumped into the FUBAR (military slang meaning fucked up beyond all recognition) group. The other outsiders who aren’t worried about their status and feel they have reclaimed the word FUBAR, are ready to befriend her, but Vanessa brushes them off.
It’s this that originally makes Vanessa difficult to identify with. In addition, Philip is so ridiculously terrible its hard to believe she still wants him. Then again, she’s a teenage girl blinded by love and sure popularity is the only important goal in life, so she’s probably more like most of us than we’d care to remember. Eventually she realizes she’s too good for Philip and becomes the leader and advocate of the FUBARs so it’s clear she realizes her mistakes.
An interesting facet of the film is its examination of cultural appropriation. Each year, the school holds a competition called the Snowstorm Survivor championship where the school’s all-white student body (Vanessa is the sole native student) compete in events inspired by native games. These activities include a cringe inducing scene where white students dress up in eskimo costumes and do elaborate cultural dances. In addition, Vanessa realizes her scholarship was sponsored by a known racist who instituted the program as a PR move. By the end of the film she connects to her Eskimo heritage by forming a Snowstorm Survivor team that values the principles of the World Eskimo Olympics, a games intended to bring people together rather than tear them apart through competition.
Lesson: Cheer for everyone, have fun and don’t worry about pointless competition and popularity contests. You’ll regret the friends and the fun you didn’t have.
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Elizabeth Kiy is a Canadian writer and freelance journalist living in Toronto, Ontario. is a Canadian writer and freelance journalist living in Toronto, Ontario.
