Summoning a Masterpiece: 30 Years of The Craft
Thirty years on from its release in 1996, The Craft is still an iconic teen film that, despite not performing so well at release, over time has become a cult classic particularly in the goth and alternative scene. And why is that? The mood, the music, and the magic. It ticks all of the boxes, and when you sprinkle in an element of horror and female rage, you end up with something that will live forever.
To give you a brief reminder if you haven’t had your yearly rewatch yet, The Craft is centred around four girls that live in LA and that attend the same school. Sarah has just moved from San Diego to the Los Angeles area in a suitably spooky house. She meets the other girls during class, Nancy, Rochelle, and Bonnie, who are already part of their own coven and after recognising Sarah’s powers include her as their “Fourth.” Each of the witches have their own conflicts in their lives which drive their desire to use magic, including racist bullies and violent stepfathers. Over the course of the film they are exploring their spiritual limits, casting spells that both better themselves and curse those who have wronged them. By the final act there’s nothing short of pure rage, where things simultaneously have gone to plan and have also made things terrifyingly worse.
There are a few things in the movie that resonate with the alternative community. One of the more obvious ones is the group’s social standing in the school environment. They’re the weirdos, the “scary bitches,” the outsiders. People are curious and want to know about them but don’t want to be associated with them. They keep their distance, humiliating them in public but when nobody is looking they’re suddenly interested. The film is often described as “Goth Mean Girls” or “Goth Clueless”, comparisons that highlight its focus on teenage social hierarchies while placing alternative girls at the centre of the narrative. Rather than portraying alternative girls solely as peripheral or threatening figures, The Craft allows them to occupy the central roles of the story, making it possible for audiences within these communities to recognise aspects of themselves and their experiences on screen.
Fashion is always brought up when mentioning the film, in particular Nancy, who has a very strong gothic look in comparison to the others in the coven. What sets her apart from other portrayals of gothic fashion in pop culture is that her image isn’t gimmicky; it’s authentic and attainable. Nancy’s non-conformity is expressed in many ways throughout the film but the way she dresses and presents herself is at the forefront of that. Even today, the “witchy goth” aesthetic has been immortalised through characters such as Nancy and the other members of the coven. Fashion also plays an important role in showing Bonnie’s transformation as she becomes more confident. At the beginning of the film, she is often dressed in oversized coats and long skirts, but as her confidence grows, her clothing becomes more fitted, with tops and mini skirts replacing her earlier, more conservative silhouettes. Although these different stages of Bonnie’s style present her in noticeably different ways, both remain rooted in the same witchy goth aesthetic.
Aside from the witchiness and the fashion, music plays a huge part in the film. The film opens with a cover of THE BEATLES' Tomorrow Never Knows, which feels like a bold choice. A well-known track originally released in 1966 is given a new lease of life, with the alternative arrangement by OUR LADY PEACE adding a rebellious edge that feels perfectly suited to a teen movie. Even the sound of the track immediately encapsulates that unmistakable ’90s atmosphere. There’s something inherently nostalgic about this period, even for those who didn’t actually experience it firsthand. The soundtrack becomes an important part of that nostalgia, blending familiar songs with alternative interpretations that give them an entirely different identity.
Among the tracks featured is another notable cover: How Soon Is Now? by THE SMITHS, performed by LOVE SPIT LOVE. By this point, the song’s dark and atmospheric sound had become closely associated with witchy imagery, something that would be further cemented when it was later used as the theme song for the television series Charmed.
The soundtrack also features Scorn by PORTISHEAD, an offshoot of their iconic track Glory Box, which was surely created on this Earth to be used in cinema. The film even taps into the Britpop movement, with ELASTICA contributing their track Spastica. The film’s use of sound is also prominent throughout - when there’s no music playing there are thunder claps, crashes and screams. Whilst not a horror movie, it gently feeds into that space with its elements of jumpscares and shock value. The third act in itself is a prime example of this, the plot becoming muddy as the witches are overpowered, and in particular Nancy who is fueled with rage and losing her grip on reality.
The sense of sisterhood and love and trust that blooms over the second act is magical in a multitude of ways. As the bond deepens between them you see a glimpse of happiness, a sense of belonging in the way they bask in the joy of life together. This is where the stereotypes of the alternative scene are broken. In popular media alternative people are seen as depressed, miserable, and filled with hatred. Here, even just for a little while, they are being themselves and aren’t defined by the invisible limitations on how alternative people should look, behave or feel. The majority of the group also come from working-class families. While this is not inherently an alternative trait, it reinforces the film’s contrast with other teen movies, which often centre around the image of the perfect, middle-class American family. The girls are instead united by their differences from those around them, while each carries their own personal struggles, whether rooted in past trauma or their economic circumstances.
When Sarah says what she wants, “to love myself and allow myself to be loved by others”, she shows vulnerability as she struggles with her depression. Rochelle pleads for her racist classmates to get their comeuppance; Bonnie is desperate for her burn scars to heal so she can feel more confident and live her life; and Nancy wants financial support to help her and her mother escape her violent stepfather and living situation. Although these struggles are specific to each character, they reflect issues that remain relevant today. The film’s willingness to give its characters genuine, recognisable problems rather than simply using them as stereotypes is part of what allows The Craft to remain so timeless.
The rainy, autumnal imagery of The Craft, alongside its coloured glass and warm, flickering flames, places the film firmly within the “cosy” category of modern culture. There is a powerful sense of nostalgia attached to films like this, which become very popular as people begin to settle into the darker nights and Halloween festivities. The Craft offers an atmosphere that feels both comforting and familiar, despite the darker themes that run throughout the film. Its resurgence can be found in the desire for originality and authenticity in a world where things are easily fabricated and illusions are carefully constructed.
Words: Danielle Henderson
Comments