The instant classic. For me, it’s an immediate response, as in “I know it when I see it.” And that’s my first impression of the movie Cabrini, a story about an Italian immigrant, Mother Frances Cabrini, who opened orphanages and hospitals in New York City in the late 1800s to care for children abandoned to poverty and living on the streets. She’s also the first American citizen to be canonized as a saint in the Catholic Christian faith.
Upon invitation, I saw Cabrini at an advanced screening in Washington D.C. one month before its release in theatres. Audience members were moved beyond their expectations, including me. I anticipated really solid production quality based on the trailer alone and the reputation of rising director Alejandro Monteverde. But I didn’t know the story would be so visceral and authentic. I credit actress Cristiana Dell’Anna for bringing Mother Cabrini to life which reminds me of how casting choices can make or break the film. The casting challenges for any film reminds me of a fabulous book The Devil’s Candy The Bonfire of the Vanities Goes to Hollywood by Julia Salamon, published in 1991, that chronicles the making of the film version of The Bonfire of the Vanities authored by Tom Wolfe. The bestselling book exposé is considered a classic in its own right with an insider’s look at the film business. Ultimately, the movie ended up a 50-million-dollar fiasco directed by Brian De Palma. Melanie Griffith portrays Maria Ruskin, the mistress of a Wall Street bond trader who is supposed to be so alluring she’s akin to “the devil’s candy.” Well, many would agree in a miscast with Melanie Griffith as Maria, but no one would put the blame entirely on her for the movie’s disastrous reception. But it does point to how a miscasting can create yet another stumbling block in a film’s success. It seems like some actors are born to play a part! From her first appearance on the screen, Christiana Dell’Anna defines Mother Cabrini!
Now, I’m wondering, besides solid casting choices, a remarkable director, and brilliant cinematography, what makes a film a classic? And, does the notion of a classic change with cultural times or the viewing audience? A classic film should have a timeless quality, right? In that respect, what qualities allow a movie to stand the test of time?
First off, some background on yours truly. I studied film theory in college, which means I watched LOTS of movies and had to write about them. And I don’t mean movie reviews, nothing that simplistic. I had to analyze films on several levels and look at the worlds they created on a theoretical level. And I watched the classics of the Golden Era and beyond like King Kong, Citizen Kane, Grapes of Wrath, Singin’ In the Rain, Psycho, and many, many more including contemporary classics.
Years ago, I printed out a list compiled by story consultant John Truby on “Great Movies and Why They Work” in a Final Draft newsletter from January 26, 2016. I tend to hold onto these articles, interviews, etc. when it comes to filmmaking. The John Truby list highlights some key components to the classic film. I’ll share a few elements that coincide with my thoughts on the topic!
- Great ambition – A classic film’s protagonist has great ambition. Well, the ambition piece certainly works for Cabrini, who against all odds, fulfilled her mission of housing and educating orphans! Truby goes on to say, “they force the audience to see their own lives in this grand kind of way.” The audience member then becomes deeply vested in the protagonist’s journey, but it doesn’t have to be ambition leading to greater power. It just needs to be a personal drive that takes the audience along for the ride. Look at George Bailey a la Jimmy Stewart in It’s a Wonderful Life. Sure, he had great ambitions, but, in the end, he came full circle and discovered what was most important: Love for family, friends, and community.
- Powerful, condensed openings – Okay, I’m not sure I knew this one as a classic movie trait, but, once again, I sure know it when I see it. I totally agree with John Truby! I think of The French Connection with a thrilling chase opener or West Side Story and the choreographed fight scene. Cabrini opens with a riveting opener of a young Italian boy racing through New York City with his dying mother in a cart and pleading for any help to save her life!
- A unique and detailed world – Yes, indeed. World building is not just for books, although challenging as it may be for the printed or spoken story. As Truby states, “…movies don’t just present a hero and an opponent.” Minor characters are important too, and I totally agree with Truby’s comment “what happens in the stories affects other characters who, though minor, are full human beings.”
In the final analysis, John Truby says, “These movies tend to have a strong single line—with one overriding problem or goal for the hero—to give the story drive, momentum, and a sense of priorities…” I think of Dorothy in Oz trying to get back to Kansas, or Scarlett winning back Rhett Butler, or Mother Cabrini’s perseverance to open hospitals and orphanages while facing every obstacle imaginable.
I yearn for more classic films. They are what inspire, motivate, and feed our own ambitions or aspirations! Happy watching!