Hollywood has had lots to say about the American school system as of late and whether you choose to believe the information presented to you via eye-opening documentaries like Waiting For Superman or fictional phenomenon’s like Fox’s Glee it’s clear that our educational institutions are out-of whack at best broken at worst. No one has been able to depict this disheartening downward spiral quite like director Tony Kaye with his new film Detachment. In it the reclusive auteur focuses on just a few weeks in the life of Henry Barthes a substitute teacher who gets more than he bargained for when he takes a job at a fledgling high school and in the process gives parents professors and kids a much-needed wake-up call.
In this short period of time Kaye dissects the contemporary classroom with unflinching realism. The grainy worn film stock he uses for his verite’ photography coupled with topical subject matter ranging from child prostitution and teen suicide to parental negligence makes the movie appear to be more a documentary than a narrative feature but that’s where Carl Lund’s poetic screenplay comes in. His prose is simultaneously beautiful and brutal effortlessly supplying existential excerpts for star Adrien Brody darkly comic bits for fellow teacher James Caan and up-to-the-minute slanguage for the teenage students. He also uses this star-studded stage (the ensemble includes Marcia Gay Harden Tim Blake Nelson and Christina Hendricks among many others) to touch upon the larger sociopolitical issues effecting our schools and children lashing out at numerous initiatives/establishments like “No Child Left Behind” that we’re led to believe have been implemented to increase residential property values instead of grades. Though the script begins to sound like a sermon at times it’s not intrusive enough to become distasteful. Quite simply it’s brazenly truthful.
However excessive exposition can often hurt a film’s momentum and Kaye gets unnecessarily sidetracked with the painful back-stories of his characters. Brody’s Barthes is our central protagonist so the sub-plot involving his aging ailing grandfather is essential in defining him but the filmmaker forces insight into the lives of almost every teacher (and a few of the students) down our throats. Individually each vignette is heartrending but distracting; the majority of them have little connection to the main narrative. Collectively they illustrate many of the problems that contemporary families face and more importantly create an emotional crescendo leading into the inevitably tragic conclusion.
The brilliance of this casual buildup to the film’s climax is a nod to Kaye’s storytelling aptitude. I found him utilizing the kind of in-your-face filmmaking tactics that Spike Lee made commonplace in his early movies most noticeably with close-ups on a few actors who irritably address the camera head-on (like in Do The Right Thing). In addition he intensifies the action with quick cuts and aggressive push-ins that elaborate on each character’s crisis. Perfection clearly isn't his strong point; Kaye frames his shots sloppily at times and doesn't attempt anything groundbreaking but maximizes the potential of tried-and-true lo-fi techniques. His stylistic abilities are second only to Brody’s performance which is subtle sad and sweet all at once. We take an emotional and psychological plunge with the native New Yorker as he navigates a teenage wasteland of sex drugs violence and depression but it’s all just another day at school to America’s urban youth.
Long absent since his freshman feature American History X Detachment is a welcome return for Tony Kaye whose commitment to the integrity of this story is marked by unrelenting bleakness in its tone and uncensored cynicism regarding the state of our schools. He doesn’t portray every educator as a saint or every student as a sinner; through Brody he imparts on us the uneasy truth about the direct correlation between our failure as parents and the failure our children: we're one and the same. The true genius in his film is not represented in the text of his commentary but in his ability to forge an explanatory mosaic from his characters’ varying but related points of view. Because of this there are multiple mini-narratives that run through Detachment and all of them are worthy of your attention.
The truth on which Gridiron Gang is based simply does not bode well for incarcerated juvenile criminals trying to go the straight route. Probation officers Sean Porter (Dwayne 'The Rock' Johnson) and Malcolm Moore (Xzibit) tried to buck the trend by doing something different and in a small way they actually succeeded. Disappointed with the grim reality that roughly 75 percent of teenage inmates will not be rehabilitated the two officers try to shake up the curriculum. After watching the young inmates feud with one another on a daily basis Sean decides to turn the group into a high school football team in hopes of unifying them and rescuing them from lives of crime. Initially met with great trepidation from the inmates their opponents and the bosses of their ward Sean hopes to prove all the doubters wrong. In the process he seeks freedom from his own demons as well. It’s difficult to truly knock Dwayne Johnson--he currently shuns the name that begat his celebrity The Rock in favor of his birth name--for taking the pledge of serious actordom. After all when any highly bankable actor makes such a decision--not to be confused with the comedy-to-drama crossover--isn’t it more admirable than the alternative of staying the same finance-driven course? Alas however Gridiron is absolutely not a serious actor’s vehicle. Johnson has a few surprisingly tender close-ups but most scenes feature him from afar shouting his best chest-bump voice. Xzibit attempting another kind of crossover (rapping to acting) is in almost every scene yet says almost nothing. Maybe the best performance comes from youngster Jade Yorker who plays the team’s hotheaded star.Yorker’s emotional range (and shirtless prancing...for the ladies) makes him one to keep an eye on in the future. Director Phil Joanou (Final Analysis) was given a twofold head start with Gridiron Gang: The genre that has become “football movies” has eclipsed “spelling-bee movies” in popularity and the film is based on a true story. (Movie execs foam at the mouth over the prospects of a true-story dramatization.) But although Joanou succeeds in reducing R themes to PG-13 theatrics and some sharp football visuals he appears unsure of whether he wants Gridiron to be more Remember the Titans or The Longest Yard. That doesn’t in turn mean that he has created a football-movie subgenre all his own but rather that his tentativeness relegates the movie to its generic status completely lacking in originality save for the original story on which it’s based. As for that original story it suffers the same fate as most of those before it: film-worthy true stories transpire over much longer periods than the course of a two-hour movie (United 93’s “real time” notwithstanding) so the all-important subtlety is inherently lost from the get-go as is oftentimes the heart of the story.