Reflections on a selection of films
about teaching
There have been, of course, any number of films about
teaching and we can understand their continued popularity and success –
education, after all, is an area of life which affects us all. We all have
memories and tales of our school years and we nearly all have memories of those
who were charged with our education – good, bad, amusing, sad and occasionally
inspiring. Over the years the film industry has clearly tried to tap into this
vein of common experience, usually emphasising the last of these qualities.
Films about teaching (and learning) tend to follow a
familiar and similar pattern. An inexperienced teacher has a hard time to begin
with, but learns from his/her mistakes to become approachable, effective and
successful, while pupils initially reject lessons offered to them, learn to see
things differently and eventually change for the better.
This approach has frequently been criticised as being
somewhat idealised and sanitised, but I think this general criticism is by and
large unfair. Of course, much depends on how well the film is made – script,
direction and performances, but consider the purpose of these films, which is
to offer hope and inspiration despite difficult circumstances, and then
consider the alternative, offering hopelessness, pointlessness and perhaps even
despair. Provided the film offers a reasonable degree of realism and the
characters are properly fleshed out and believable, it is perfectly fitting and
proper to show these characters moving in a positive direction, a direction
which offers guidance, hope and inspiration to us all, whether as pupils or
teachers.
I have chosen a handful of my favourite teaching films
to discuss. This is certainly not a comprehensive list, but I hope that the
points made may be applicable to other productions.
Mr Holland’s Opus (1995, dir.
Stephen Herek, with Richard Dreyfuss)
Actually, this first “teaching” film is probably a bit
of a cheat as although it focuses on a teacher, its storyline could equally
apply to any number of occupations in which the “little man” makes a major
contribution to the lives of others while he himself feels somewhat overtaken
by life, to the point where on the whole he considers himself a failure.
This is a remarkably honest and truthful film in which
the main character (Glenn Holland) is not, at first, driven by an overwhelming
desire to teach. It is merely a job which is supposed to allow him the time to
pursue his true ambition – composition. However, as he reflects on how best to
reach and influence his pupils, he becomes increasingly involved in their
development and their very lives. Success as a teacher comes with focusing on
and caring for his pupils and their progress, putting aside his personal
ambitions. With time he appears to accept that, while this may not have been
his dream, this is his fate or best option. Life has overtaken him – while he
has been busy seeing to the detail, somehow he has missed the bigger picture,
and because this is not the life he would have chosen, he fails to see the
impact and success he has had, taking entirely for granted the care and
influence he has exercised in his professional life, while nurturing a sense of
failure with regard to his ambitions as a composer.
Rather symbolically he turns his back on the artist’s
life and his youthful ambitions when he rejects the advances and proposition of
Rowena, an up-and-coming young singer who is heading for New York and perhaps stardom. He appears to
have come to terms with his place in life, his sense of duty and his
responsibilities.
Glenn doesn’t have an easy relationship with his deaf
and dumb son Cole, but here, just as in his professional life, he surrenders to
responsibility and the underlying love and caring lead him to unselfish acts.
This is a warm and very engaging film which uses the
familiar domain of school and teaching as its context, but this is used to
paint a much broader picture of life, love, responsibility, how to get the best
from people, and perhaps most importantly how to assess success and failure.
Take the lead (2006, dir. Liz
Friedlander, with Antonio Banderas)
“Take the Lead” is an interesting, entertaining and
unusual teaching film. Pierre Dulaine, a professional ballroom dancing teacher,
becomes involved with a school in a rough area of New York, and in particular with a group of
so-called low achievers or problem kids – he is put in charge of the detention
group and announces he is going to teach them ballroom dancing.
Naturally he meets with official disapproval and
reluctance on the part of his students, but he perseveres and at least in part
because of the added incentive of a large cash prize in a competition he
persuades his students to work hard and develop their skills until they are
able give more privileged and experienced kids a run for their money.
In many ways the film follows the outline given at the
start of this page, but it is humorous, emotionally engaging, and the
characters are well enough drawn to avoid disappointment at feelings of “déjà
vu”.
So, what does the film say about teaching and
learning? It seems to me that the key message of the film is respect – for
others, but perhaps more importantly for oneself. In the film the kids gain a
sense of worth through success and achievement, though not necessarily
attainment. Dance teaches them to respect others and show consideration. It
also allows them to see and experience discipline, and even more importantly to
recognise the value of self-discipline and determination in the face of
adversity, enabling them to respect themselves for what they have achieved.
Success or failure in the competition becomes
irrelevant by the end – what matters is the journey they have made to arrive at
the stage where they feel they are able to compete on an equal footing.
Teachers are encouraged to invest themselves, their
time, emotions and energy in the success of their pupils, while students are
also encouraged to broaden their horizons and aspire to something beyond their
apparent limitations. They see what is possible with hard work and
determination, and this ethic can surely be applied to many different spheres
of life.
Oh, and the film contains some exciting dance
sequences as well!
This is a worthy and inspiring addition to the series
of films about teaching – it is engaging if a little obvious and manipulative
in places, and is inspired by true events in the life of Pierre Dulaine. Its
message is quite clear, appeals to young people, and would form an excellent
basis for discussion of career (or any other) aspirations.
To Sir with love (1967, dir.
James Clavell, with Sidney Poitier),
To Sir with love 2 (1996, dir.
Peter Bogdanovich, with Sidney Poitier)
The famous original was released in 1967 and met with
tremendous success. Nowadays it appears somewhat dated, not just in terms of
fashion, décor and speech, but more essentially in terms of the deprivation
(though I dare say that could be disputed), classroom materials, techniques and
the attitude of the students. Clearly things have changed considerably since
the film was made, yet once you look beyond these cosmetic points and
concentrate on the “meat” of the piece, in fact we see it remains quite relevant
to today and indeed the whole basis of modern educational philosophy.
Once again, the film promotes investment of time,
energy and emotion into teaching and learning as well as something we tend to
take for granted – mutual respect. This was one of the first films to suggest
that pupils should be treated as young adults who should be spoken to, reasoned
with and treated as equals. Expectations (academic and social) should be set
high and standards maintained, allowing students to gain a sense of value,
worth and self-respect when they meet and maintain these standards.
The sequel (made for TV in 1996) delivered more or
less the same messages but updated to 1990s Chicago. Again, it is a little simplistic in
terms of the changes in the students, but it delivers its message and is
genuine and engaging, and Sidney Poitier is always worth watching.
Les Choristes (2004, dir.
Christophe Barratier, with Gérard Jugnot)
“Les Choristes” is touching, charming, funny, poignant
and thought-provoking. Above all, however, it is very French. Character driven
and intrinsically human, this is the story of a new supervisor, Clément
Mathieu, who arrives at Fond de l’Étang boarding school for underprivileged
boys and immediately comes into conflict with the disciplinarian ethos of the
Headmaster, Monsieur Rachin.
When we entrust the education of our youngsters to
teachers, we make assumptions about teachers’ motivation, qualifications and
character. “Les Choristes” challenges all three of these assumptions and
presents an at times harrowing picture of the post-war education system in France.
Granted, this school has its particular problems in that we are dealing with
extremes – orphaned boys, or boys whose parents don’t have the means to support
them (financially and/or socially), but this only serves to accentuate the
clash between the two styles of education drawn in the film – strict and
autocratic discipline contrasted with a more sensitive, caring and human
approach.
The Headmaster, Monsieur Rachin, is a particularly
unsympathetic character, cold and rigid in his application of rules. He would
not be out of place in a factory operated by machines, with fully functioning
pupils the end product.
This is in direct contrast with Clément Mathieu, a
lowly supervisor who nonetheless presents a far more attractive and human
approach to the problems of educating and dealing with potentially difficult
children.
Rachin’s methods and approach recall the Ancien
Régime, while Mathieu’s methods are in keeping with the Enlightenment and the
Age of Reason. Mathieu appears to embody the watchwords “in loco parentis” (in
place of parents), the bywords of the Scottish teaching profession, in that he
shows a caring attitude and tries to nurture the boys, rather than simply
process them. Rachin shows scant regard for his charges and clearly sees his
role as one of management rather than nurturing or development.
The film could easily have fallen into a more sombre
tone, given the context and much of the content, but Barratier and his actors
manage to maintain a positive tone, largely by not dwelling on the more
unpleasant events, but also, and perhaps more importantly, through the
injection of humour and Mathieu’s offer of hope in the form of positive action
and a sense of progress.
The music of the film adds considerably to the tone
and enhances pathos. At times deceptively simple, yet tinged with sadness and
youthful spirit, the music of the film enables us to share even more keenly the
emotions and reactions of the characters.
What is the key to Mathieu’s success with the boys?
Clearly, they learn to appreciate music and sing beautifully, but more
importantly they learn respect – for others and for themselves through the
efforts they make and the success they gain as a result of these efforts. They
learn to treat one another with consideration. Music may be the medium, but the
objective and end result is humanity.
The film clearly suggests that one man can make a
difference. Mathieu touches these boys’ lives. Quite apart from the
introduction of music (which is sufficient grounds for success!), he also
introduces humanity and respect.
Like the vast majority of decent human beings, his
deeds remain unsung and he will never achieve the fame and recognition he may
desire, yet he has touched and changed lives in a most fundamental way – he is
someone to look up to, someone to turn to, someone tangible whose “heroics” are
achievable by us all. It is sad, perhaps even tragic, that he considers himself
a failure, and indeed this may call in to question the standards by which
society judges its heroes.
He does, of course, have one significant failure –
Mondain. However, even Mondain appears to suggest that he recognises Mathieu’s
potential positive influence as he nods toward him as he is taken away by the
police. Perhaps it is simply too late for Mondain – he is unable or unwilling
to change, but perhaps also, if he had met someone like Mathieu some years
before …. .
It should be pointed out that Mathieu does not suffer
too much at the hands of the boys. In this respect the film could fairly be
accused of being a little simplistic, but acceptably so. The boys undoubtedly
respond too quickly and easily to Mathieu’s style, but we should remember that
this is a hymn to humanity. This is a representation, a work of art if you
will. It makes its points clearly and persuasively, if manipulatively, with
steady progression of the storyline and in character development.
The performances throughout are excellent – Rachin (as
played by François Berléand) lacks any possibility or element of sympathy (to
have incorporated such elements might have led towards tragedy), and instead we
are invited to see and laugh at his weaknesses. In this way the film remains
entertaining while making serious points.
Mathieu (Gérard Jugnot) is a lovely character and is
beautifully played by Jugnot so that we have maximum sympathy for this underdog
at odds with his time and society who becomes an unlikely hero. He has everyman
appeal, and seems to suggest that any man can be a hero by being human.
The direction by Christophe Barratier is brisk and
emotionally engaging – we feel real sympathy for these characters and come to
care about their fates, though it would have been nice to hear and see how Le
Querrec, Boniface, Corbin and the others had fared in life, as well as Morhange
and Pépinot. However, such criticism is trifling in the face of such a
touchingly told and affecting tale of humanity.
Dead Poets Society (1989 dir.
Peter Weir, with Robin Williams)
“Dead Poets Society” gives us the story of an
inspirational teacher who encourages and enables his charges to see things
differently, to tap their potential and seize opportunities presented by life,
only to come directly into conflict with more conservative forces (educational
and parental).
The film underlines the potential conflict between
idealism and realism, or hope and practicality. There is much pressure to
succeed and conform (parental, academic and social) and this may conflict
directly with self-fulfilment. Keating (Williams) fervently exhorts his pupils
to be all they can be and follow their own instincts, but this is in opposition
to those who, out of good intentions and with the pupils’ best interests at
heart, insist they follow a safe and well-tested path considered “successful” by
society.
A teacher, then, is seen as someone who can help bring
out the best or the potential of a young person, or can be seen as one who
helps train them for a place in society.
Keating wants his charges to see things differently,
with their own eyes and their own perspective, but this can ultimately lead to
tragic conflict with others.
“Dangerous Minds”, 1995,
directed by John N Smith,
starring Michelle Pfeiffer
Based loosely on a true story, “Dangerous Minds” fits
perfectly the mould of cinematic teaching films. New recruit LouAnne Johnston (ex-Marine and teacher who
continues to practise today, while also writing and speaking about teaching) is
given a hard time by her class (we see only one class), but eventually she
finds a way to communicate with her charges and mutual respect is developed. We
are shown various difficult situations, including the pain, joy, satisfaction
and frustration of the job as LouAnne becomes embroiled emotionally in the
growth and education of her students. We also share her frustration and anger
at the petty imposition of rules and policies in the face of more serious, even
life-threatening situations.
Once again, it boils down to humanity and treating one
another with respect. Enjoyable and very worthwhile, if a little contrived, the
film engages viewers’ emotions and encourages youngsters to aspire to something
beyond their immediate circumstances.
“Freedom Writers”, Richard
LaGravenese’s 2007 film starring Hilary Swank
This is based on the true story of Erin Gruwell’s
pedagogical battle with both her pupils and the educational powers that be to
help her class gain mutual respect and learn the value of tolerance.
A newly qualified English teacher, Erin desperately
seeks ways to stimulate and engage her class of so-called “difficult” and
disaffected pupils. Alternating with Erin’s
attempts at teaching, we are also shown her pupils’ lives, riddled with
violence, bullying, racism and intolerance.
Outraged at an example of racist bullying in her
classroom, Erin finds a way for her pupils to
communicate with her without losing face. With reference to common elements of
racism and bullying, Erin’s class researches the rise of the Nazi Party in Germany
between the wars. Her class quickly discovers that they have more in common to
unite them than they have to divide them. They learn not just to tolerate and
accept one another, but to respect and value one another.
At the same time, these pupils face the cynical
prejudices of tired and weary teachers who fail them largely because they
refuse to listen to them and are too proud of their own positions to see a way
forward with them.
Although it is undeniably affecting, I think the film
might have been stronger had more sympathy and understanding been shown to Erin’s detractors, making the film more complex and
human. The gulf in approach between the two is perhaps oversimplified, though
this serves a dramatic purpose and certainly emphasises the message of the
importance of relevance, communication and respect.
“The Principal”, Christopher
Cain’s 1987 film
starring James Belushi and Louis Gossett Jr.
Let’s be honest – “The Principal” shouldn’t work. It
is obvious, manipulative, cliché ridden, extreme and yet romanticised. It is
also utterly compelling, engaging, funny, touching and realistically human! I
really like this film, yet I can see many reasons why I shouldn’t!
This is the story of Rick Latimer, a teacher put in
charge of Brandel High because no-one else will go near it. Its students (and
staff) are, to say the least, disaffected and there is a major problem with
criminal activity of many types, and precious little education or respect.
Naturally, Rick has a rough time, but he eventually
builds the students’ respect as well as their self-respect, enabling them (and
himself) to stand up and be counted.
A genuine guilty pleasure, and one I will happily
repeat time after time!
“Lean on me” (1989), dir. John
G Avildsen, starring Morgan Freeman
For just about the first time in watching a “teaching
film”, I had truly ambivalent feelings about the teacher at the centre of the
film. Based on a true story (and I have to assume that this is a reasonably
faithful version of events), I cannot say I agreed with or would support all
the stances taken by Principal Joe Clark at Eastside High.
As a film, it is very effective, engaging and
well-acted. I would recommend it as good viewing material, but I am less sure
of the relevance it may have for other members of the teaching profession.
Joe Clark is given the unenviable job of turning
around a failing inner-city school, and he has just one school session to do
so. Mr Clark is determined, dedicated, devoted, driven, strong and highly
principled. Yet he is also rude, arrogant, self-centred and tyrannical. Perhaps
these qualities are what it took to turn his school around, but he shows
remarkable disrespect for his staff (some of whom may well have deserved such
treatment, but surely not all) who will, after all, be the tools by which he will
achieve his objective.
We also gain some insight into the “political” aspect
of running a school – the pressures from the authorities above, and pressure
from the parents below. You have to take your hat off to this man who managed
to dramatically improve his school’s statistics and his pupils’ chances in life
– this was not an easy job, though it appears that Joe Clark did little to
carry people with him, but instead forced his ways on others. Schools are about
teamwork with strong leadership and support. Mr Clark certainly has my
admiration for his (along with his staff and pupils) achievement. He had
courage and conviction, but I would find it very difficult to work with such an
attitude at the top of the school. If pupils require a sense of security and
confidence to truly grow, that is equally true of the teaching staff.
This film gives a “warts and all” view of the
principal, and it should be admired as such, though it does leave the viewer
wondering just what he/she is supposed to take from the story.
“Good Will Hunting” and “Finding Forrester” pursue a
vaguely similar theme, with a mentor helping to draw out the best from their
“student”, leading to personal involvement, investment of time and emotion, and
of course personal growth for both parties.
My
thanks for taking the time to read this article. I hope you found it of some
value.
Stuart Fernie (stuartfernie@yahoo.co.uk)
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