Thirteen is a 2003 feature length indie film which punches above its low-budget weight thanks to expert storytelling and characterisation. Director Catherine Hardwicke co-wrote the script with her erstwhile step-daughter Nikki Reed, who also stars as Evie Zamora. Hardwicke has known Nikki since Nikki was five.
At the time this film came out I was teaching at a girls’ high school and this film impressed me for its realism. The realism is terrifying, in fact. I taught girls who idolised the young heroes in this story, and one who had been burning herself with cigarettes hoping to ‘be just like’ Tracy. This is definitely a film that needs to be watched with parental commentary, but it should be watched anyhow. This is realism for many adolescent girls. The intense relationship between Evie and Tracy, one built on dominance as much as it is built on love, is highly recognisable. Not all teenage girls get into one of these relationships, but many do. As Rachel Simmons writes in her book Odd Girl Out (published around the time this film came out), a relationship dynamic like Tracy and Evie’s is grooming Tracy up for relationship abuse later, when she gets into a romantic relationship. Better she learn some basic lessons now, while her mother is there to protect her somewhat.
This is why young women should see this film. Better they process it from the other side of a screen.
LOGLINE OF THIRTEEN
Sometimes I wonder if thirteen is considered unlucky because being thirteen-years-old is so hard.
A thirteen-year-old girl’s relationship with her mother is put to the test as she discovers drugs, sex, and petty crime in the company of her cool but troubled best friend.
GENRE OF THIRTEEN
Hardwicke first intended to write comedy, but soon realised after talking with Nikki that she couldn’t make a single thing up more interesting than what was going on in teenage girls’ real lives, so the film turned into a harrowing drama. So there’s an interesting insight into how much a story can change between conception and final draft. Stories can leap from one genre to another.
The actors say that in the theatre at the Sundance screening they heard uncomfortable giggles throughout the film, especially at times of high intensity. They possibly got as many ‘giggles’ as they would have had they produced an actual comedy. Audiences are weird like that.
Thirteen is not a thriller — it is a straight drama. But the structure involves the coming off of a mask, which makes the structure similar to transgression comedies and also noir thrillers. For much of the movie, Tracy Freeland is acting as a pseudo-adult, ditching her mother who she still needs very much in favour of a girl who has not been so well protected from the world. How does Hardwicke wrap up this story? It’s a story chock full of conflict — arguments with Tracy’s mother, father, brother, teacher and former best friends. Therefore the ‘battle sequence’ needs something extra. In this case it’s the coming off of the mask. After rejection from Tracy’s mother, Evie Zamora outs Tracy to everyone as a thief, self-harmer, drug abuser and all-round evil person. While this portrait of her is not quite right either, it is in this scene that Tracy’s mother finally gets the full picture regarding what’s been going on with her daughter. The mask is finally off. In the outtake scene we see Tracy on a roundabout (a regression to childhood), emitting a primal scream. The torment of keeping up this facade of rebel has passed.
STORYWORLD OF THIRTEEN
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