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Movies

The Evolution of Thanksgiving in American Cinema

2024-11-28

In the early 1980s in Canada, one could sense a collective fascination with American culture. Just as a young adolescent, I often found myself observing from a distance while my neighbors south celebrated with exuberance. We were both bemused and drawn to their solipsism, questioning their claims of inventing democracy and living in the best country. Television dramas and sitcoms became a window into this other world, especially the Thanksgiving specials. I remember knowing the traditional holiday menu by heart and being intrigued by the family dramas played out at the dinner table. This led me to ask my mother why this holiday was so important to Americans.

My Mother's Perspective

My mother, with her unique Jewish-Canadian lens, explained that American Jews loved Thanksgiving because it was both ecumenical and uniquely American. It gave them the chance to express a Jewish and American identity, emphasizing the American aspect. Thanksgiving made Americans feel that their commonalities were stronger than their differences, a sentiment that still holds true today. In the 1980s, Canada was in the midst of its multicultural experiment, while the real power seemed to lie with the French and Anglo names. I, as a Canadian Jew, interacted with students from various backgrounds, adding to my understanding of different cultures.

Barry Levinson's "Avalon"

In Barry Levinson's 1990 autobiographical film "Avalon", the opening scene is a grand Thanksgiving celebration in 1947. Sam, Michael's grandfather, recounts his story of coming to America in 1914, emphasizing the importance of family. The extended family gathers around a makeshift table, sharing jokes and stories. However, later Thanksgivings show a different side. Michael's father and cousin become successful and move to the suburbs. At the next Thanksgiving, there is an undercurrent of change. Gabriel, Sam's older brother, arrives late and is devastated to find the family already eating. This leads to a rift that marks the gradual fraying of the family bonds. By the end of the movie, the grandfather is a half-demented elderly widower, and Michael, the assimilated grandson, has lost his connection to the old world.

Woody Allen's "Hannah and Her Sisters"

In Woody Allen's 1986 film "Hannah and Her Sisters", a multigenerational family celebrates Thanksgiving in their Manhattan apartment. The plot is filled with complex relationships and affairs. Michael lusts after Hannah's sister Lee, leading to a series of events. Watching the film again after all these years, in the context of recent revelations, the female characters seem overly dependent and the male characters engage in amoral behavior. The maid, the only Black person in the movie, silently serves the meal, highlighting the racial dynamics.

Spike Lee's "She's Gotta Have It"

Spike Lee's debut film "She's Gotta Have It" takes place in Brooklyn's Bed-Stuy neighborhood. The key scene is a Thanksgiving dinner in Lola Darling's loft, where she invites three different men. She openly celebrates her personal freedom and sexuality, offering a revolutionary depiction of womanhood. This choice of making the key scene a Thanksgiving meal is significant as it symbolizes American identity.

Ang Lee's "The Ice Storm"

In Ang Lee's 1997 film "The Ice Storm", set in 1973 New Canaan, two families are adrift in a world of financial prosperity but emotional poverty. On the day before Thanksgiving, 16-year-old Paul travels home. His parents have an emotionless affair and their children are dealing with their own issues. During the ice storm, a key party leads to tragic consequences. Mikey, the neighbor's son, is killed, highlighting the emptiness of suburban life.

"Home for the Holidays"

In "Home for the Holidays" directed by Jodie Foster, a single mother flies home to celebrate Thanksgiving. She is surrounded by her dysfunctional family, including a half-closeted gay son and a resentful sister. The film shows the dysfunctional relationships and social alienation within the family, with no grand statements about American values.

Conclusion

Watching these films in chronological order is like taking an elegiac journey. The changing symbolism of Thanksgiving in each film reflects the rise and decline of American culture. From the optimism of the postwar period to the alienation of the 1990s, these films offer a unique perspective. Nola Darling's character in "She's Gotta Have It" provides a refreshing deviation, showing the vibrancy of a different side of American culture. Perhaps the very act of creating these films is a testament to the enduring nature of American culture.