By Dennis Hartley
(Originally posted on Digby’s Hullabaloo on August 31, 2019)
It’s a funny thing. I know that this is supremely silly (I’m over 60, fergawdsake)- but as soon as September rolls around and retailers start touting their “back to school” sales, I still get that familiar twinge of dread. How do I best describe it? It’s a vague sensation of social anxiety, coupled with a melancholy resignation to the fact that from now until next June, I’ll have to go to bed early. By the way, now that I’m allowed to stay up with the grownups, why do I drift off in my chair at 8pm every night? It’s another one of life’s cruel ironies. At any rate, I hereby submit my Top 10 show-and-tell picks for homeroom:
The Blackboard Jungle– I like to refer to this 1955 social drama as the “anti-Happy Days”. An idealistic English teacher (Glenn Ford) tackles an inner-city classroom full of leather-jacketed malcontents (or as they used to call them – “juvenile delinquents”) who would rather steal hubcaps and rumble than, say, study the construct of iambic pentameter.
The film still retains considerable power, despite dated trappings. Vic Morrow and Sidney Poitier are surly and unpredictable as the alpha “toughs” in the classroom. The impressive supporting cast includes Richard Kiley, Anne Francis and Louis Calhern.
Director Richard Brooks co-scripted with Evan Hunter, from Hunter’s novel (the author is best-known by the nom de plume “Ed McBain”). Bill Haley’s “Rock Around the Clock” is featured in the soundtrack, which helped make the song a huge hit.
Dazed and Confused– I confess that my attachment to writer-director Richard Linklater’s vivid 1993 recreation of a mid-70s high school milieu has a lot to do with the sentimental chord it touches within me (I graduated from high school in 1974). Such is the verisimilitude of the clothing, the hairstyles, the lingo, the social behaviors and the music that I experienced a total-immersion sense memory the first time I saw it (I’m guessing that the boomers born a decade before me had a similar reaction to American Graffiti).
This is not a goofy teen comedy; while there are laughs (mostly of recognition), the sharply written screenplay is more focused on keen observation. Linklater would be hard pressed to reassemble this bright, energetic young cast at the same bargain rates now: Matthew McConaughey, Parker Posey, Ben Affleck, Milla Jovovich, Adam Goldberg, Rory Cochrane, Joey Lauren Adams and Nicky Katt, to name a few. Two bongs up!
Election– Writer-director Alexander Payne and his creative partner Jim Taylor (Sideways, About Schmidt) followed their 1995 debut Citizen Ruth with this biting 1999 sociopolitical allegory (thinly cloaked as a teen comedy). Reese Witherspoon is pitch perfect as the psychotically perky, overachieving Tracy Flick, who seems to specialize in making life a special hell for her brooding civics teacher, Mr. McAllister (Matthew Broderick).
Much to Mr. McAllister’s chagrin, the smart, ambitious and politically savvy Tracy is running unopposed for school president. He encourages the somewhat dim but sweet-natured Paul Metzler (Payne discovery Chris Klein, who had never acted before) to cash in on his popularity as a jock and run against her (why does that sound familiar?). Payne delivers the laughs, yet never pulls his punches; his film reveals painful truths about suburbia’s dark underbelly (not unlike American Beauty, which came out the same year).
Fast Times at Ridgemont High-Amy Heckerling’s hit 1982 coming-of-age dramedy introduced a bevy of talent to movie audiences: Forest Whitaker, Jennifer Jason Leigh, Judge Reinhold, Phoebe Cates, Eric Stoltz, Nicholas Cage, Anthony Edwards. Oh…and a kid named Sean Penn, who memorably portrays the quintessential stoned California surfer dude, Jeff Spicoli (“Learning about Cuba…and having some food!”). A marvelously droll Ray Walston plays Spicoli’s exasperated history teacher, Mr. Hand.
Rolling Stone reporter (and soon-to-be film director) Cameron Crowe adapted the screenplay from his book, which was based on his experiences “embedded” at a San Diego high school (thanks to his youthful looks, Crowe passed himself off as a student). Heckerling returned to the California high school milieu for her hit Clueless.
The First Grader– Beautifully directed by Justin Chadwick, this 2010 film is based on the true story of an illiterate 84 year-old Kikuyu tribesman (Oliver Litando) who had been a young freedom fighter during the Mau-Mau uprising in the 1950s. Fired up by a 2002 Kenyan law that guaranteed free education for all citizens, he shows up at his local one-room schoolhouse, eager to hit the books. The real story, however, lies in his past. The personal sacrifices that he made for his ideals are revealed slowly and deliberately; resulting in a denouement with a powerful, bittersweet gut punch. Unique and inspiring.
Gregory’s Girl– Scottish writer-director Bill Forsyth’s delightful examination of first love follows gawky teenager Gregory (John Gordon Sinclair) as he goes ga-ga over Dorothy (Dee Hepburn), a fellow soccer player at school. Gregory receives advice from an unlikely mentor, his little sister (Allison Forster). While his male classmates put on airs about having deep insights about the opposite sex, they are just as clueless as he is.
Forsyth gets a lot of mileage out of a basic truth about adolescence- girls are light years ahead of the boys getting a handle on the mysteries of love. Not as precious as you might think; Forsyth is a master of low-key anarchy. Those Scottish accents can make for tough going, but it’s worth the effort (I’d recommend the subtitle option or closed captioning if available!).
Also in the cast: Clare Grogan, whom music fans may recall as lead singer of 80s band Altered Images, and Red Dwarf fans may recognize as “Kristine Kochanski”.
if…. – In this 1968 class struggle allegory, director Lindsay Anderson uses the British public-school system as a microcosm of England’s sociopolitical upheaval at the time. It was also the star-making debut of Malcolm McDowall, who plays Mick Travis, a “lower sixth form” student at a boarding school (McDowall would return as the Travis character in Anderson’s two loose “sequels” O Lucky Man! and Britannia Hospital). Travis forms the nucleus of a trio of mates who foment armed insurrection against the abusive upperclassmen and oppressive headmasters (i.e. the “System”).
Some critical reappraisals have drawn parallels with Columbine, but the film really has little to do with that and nearly everything to do with the revolutionary zeitgeist of 1968 (the uprisings in Czechoslovakia, France, Germany, etc.). That said, one could argue that if…. could be read outside of original context as a pre-cursor to films like Massacre at Central High, Rock ’n’ Roll High School, Heathers, The Chocolate War and Rushmore.
Mandy– England’s Ealing Studios are chiefly remembered for churning out a slew of classic comedies. Indeed, director Alexander Mackendrick was responsible for several of them (including Whiskey Galore, The Ladykillers, and The Man in the White Suit), but he also made this outstanding 1952 drama, which concerns a 7-year old girl (Mandy Miller).
Congenitally deaf since birth, Mandy has been coddled by her well-meaning parents (Phyllis Calvert and Terence Morgan) her whole life. While this has “protected” her in a fashion, it has also made her completely insular and socially dysfunctional. When Mandy’s mother hears about a school that specializes in teaching deaf children to speak using new progressive methods, she lobbies her skeptical husband to enroll their daughter. He reluctantly agrees. Mandy’s journey makes for an incredibly moving story.
Nigel Balchin and Jack Whittingham adapted the intelligent script from Hilda Lewis’ novel “The Day is Ours”. An added sense of realism stems from use of many non-actors; e.g. Mandy’s classmates, who were real-life students from a school for deaf children (Miller was not deaf, which makes her heart wrenching performance more remarkable; particularly in her unforgettable “breakthrough” scene).
The film had a profound impact in the U.K., changing social attitudes toward people with disabilities, who had been traditionally marginalized (if not shunned altogether or considered mentally deficient). Jack Hawkins gives one of his finest performances as Mandy’s teacher. A beautiful film.
To Sir With Love-A decade after he co-starred in The Blackboard Jungle, Sidney Poitier trades his switchblade for a lesson plan; the student becomes teacher. This well-acted 1967 classroom drama offered a twist on the prevalent narrative of its day. Audiences were accustomed to watching an idealistic white teacher struggling to reach a classroom of unruly (and usually “ethnic”) inner city students; but here you had an idealistic black teacher struggling to reach a classroom of unruly, white British working-class students.
It’s a tour de force for James Clavell, who directed, wrote and produced. The “culture clash” narrative is not surprising; as it is prevalent in Clavell’s novels and films (most famously in Shogun). The film is also a great “swinging 60s” time capsule, with an onscreen performance of the theme song by Lulu, as well as an appearance by the Mindbenders (featuring future 10cc co-founder Eric Stewart). Also in the cast: Judy Geeson (in a poignant performance), Suzy Kendall, Christian Roberts, and future rock star Michael Des Barres (the lead singer for Silverhead, Detective, and Power Station!).
Twenty-Four Eyes– This drama from Keisuke Kinoshita could be the ultimate “inspirational teacher” movie. Set in an isolated, sparsely populated village on the ruggedly beautiful coast of Japan’s Shodoshima Island, the story begins in 1928 and ends just after WW 2. It’s a simple yet deeply resonant tale about the long-term relationship that develops between a compassionate, nurturing teacher (Hideko Takamine) and her 12 students, from grade school through adulthood.
Many of the cast members are non-actors, but you would never guess it from the wonderful performances. Kinoshita enlisted sets of siblings to portray the students as they “age”, giving the story a heightened sense of realism. The film, originally released in 1954, was hugely popular in Japan; a revival years later introduced it to Western audiences, who warmed to its humanist stance and undercurrent of anti-war sentiments.