Fall Films: Hollow Aesthetics or Seasonal Masterpieces?
Seasonality is not universal by nature. No time of year has the same weather across the globe. In North America and Europe alone, the primary consumers of western media, climate varies vastly, especially during fall. Why then, is seasonal media so unifying? Why does every movie watcher, whether casual or avid, seem to have an annual repertoire of films they watch for certain holidays and seasons? Specifically, why has the “fall movie” become an archetype of religiously rewatched and critically acclaimed movies? Is the key to their success merely in the gratification of seeing the aesthetic we experience outside portrayed onscreen, or do many high quality movies just happen to emulate a certain autumnal feeling? The answer to these questions can be found within such movies themselves.
Dead Poets Society, a prime example of this phenomenon, singlehandedly debunks the notion that seasonal movies only succeed due to their stylistic choices. With a widely popular release in 1989, winning the Academy Award for best original screenplay and earning a score of 85% on Rotten Tomatoes, Dead Poets Society remains a well-liked film. So what role does its setting amongst orange leaves and sweater weather play in its success? Not an essential role, as it would remain a beautifully told story of loss and identity were it to take place in spring or summer. Its cozy fall feeling, however, may serve as an enticing aspect that draws viewers back in to rewatch every season—I know as much is true for me.
That is not to say that autumnal aesthetics aren’t the most important part of some films, nor that this is necessarily a bad thing. While Twilight actually takes place from January to March, its cool blue color palette and emotional soundtrack undeniably imbue every frame with pure fall essence. It simply wouldn’t be a cult classic if Bella and Edward fell in love on sunny beaches or hot country roads. This dependence on vibes, however, does not mean the film is devoid of value. Twilight’s most masterfully executed aspect, in many viewers' opinions, is how important the film makes its vibes. The ability of its cinematography and sound design to strengthen all the themes and emotions portrayed in the narrative is not easy to achieve. We are compelled to join Bella in her longing as even the nature around her seems painfully in love and beautifully sad. This catharsis in which everything seen on screen reflects what one feels inside cannot be understated in its contribution to Twilight’s success.
The question then becomes: Is fall uniquely beautiful in its aesthetics or in what the season itself represents? September 1st to November 30th is a season of inevitable endings and new beginnings. In places like New England, the weather grows colder and the leaves turn a new shade, but with that comes the end of warmth and the promise of even colder months ahead. In its foliage alone, fall occupies a purgatory between thriving warmth, a looming cold death, and eventual rebirth. Perhaps the remembrance of the past and speculation of future possibilities are what makes fall’s feelings so sought after by directors to evoke. Genre films precisely illustrate just how many different stories one could live through in this season. When Harry Met Sally offers a hilarious yet sprawling romance, grounded in idyllic autumnal New York City. Viewers are begged to imagine a twelve year situationship with a soulmate of their own. Though it's rooted more firmly in fall given its Halloween setting, the same is true for Hocus Pocus. If viewers can relate to the seasonal scenery or even the idea of it, especially for those who haven’t experienced colorful trees and a fall chill firsthand, then they can insert themselves into the battle against the Sanderson sisters. In this regard, fall media is more universal than any type of actual weather.
Idyllicism, however, is not necessarily the norm for fall movies. In fact, the least idyllic genre of movies is arguably one of the biggest subcategories of movies watched in this season: horror movies. Other than the odd masochist, I think it’s fair to say no one wants to be in a horror story. So why are fall horror movies so successful? Because this is the genre where autumnal catharsis takes full form. With endings and beginnings comes possibility, but so does terror at these possibilities. At the time of year where people are taking new classes, moving into a new school, or perhaps not moving into school for the first time ever, fear might be the most common emotion. Watching brutal murders or horrifying monsters on-screen may abate this fear twofold. By feeling unalone in one’s fear or one’s mundane anxiety being dwarfed by the fear of a life or death situation, solace may be found in horror movies. Thus, fall movies further relieve the stress of real life by externally portraying the internal battles we fight.
Relation, validation, catharsis, and self-insertion are such important parts of film, and seasonal media excels in all these aspects. Additionally, in revisiting movies we watch every year at a certain time, memories of who we were the previous times we watched them can bring us a new kind of comfort. By choosing media consumption based on the current time of year, art can bring us to places we didn’t even know we could reach.