Review by Google“>Shawn Stjean
Directed by Arthur Hiller. Released TODAY.
Notable Soundtrack featuring .38 Special, Bob Seger, Night Ranger
United Artists, originally begun as a creative and financial alternative to the Hollywood studio system before films even had sound, by Charlie Chaplin, D.W. Griffiths, and several partners, struggled successfully with that vision through the 1950s and ’60s, eventually backing what might be called a series of “anti-blockbuster” releases in the 1970s, including One Flew Over the Cuckoo’s Nest and the original Rocky. We can give them their fair share of credit for what remains of intelligent, risk-taking and watchable film in America today. The 1980s were a particular turbulent decade for the outfit, including a merger with MGM and brief acquisition by Ted Turner.
Eclipsed today by lightweight efforts in the James Bond franchise and the increasingly overblown Rocky sequels, a film like Teachers (1984) came and went into obscurity, undeservedly so. It’s not as significant as Apocalypse Now, of course, but it’s no Trail of the Pink Panther either. The studio delved into all genres: Westerns, Sci-Fi, Horror, High Drama, screwball comedy. Hiller’s piece can be termed Romantic Comedy, in the old, Hawthornian sense of the word “Romantic”: an exaggerated version, satirical in this case, of what we all go through every day.
Set in the middle of a snowy winter rather than the early Autumn or late Spring typical of high-school stories, Hiller’s film immediately warns of its darker tone. .38 Special’s title-song lyrics, “And for all the things you taught me, only time will tell If I’ll be able to survive” and reference to a “jungle, ” along with a security guard muttering “animals” as he unchains the doors, hint at naturalistic themes. For those who might object that too much cynicism is packed into a running time shy of two hours, understand that a real-world time frame of many months can be inferred–it’s a convention of the genre.
Characters are lead by bleary-eyed teaching vet, Alex Jurell (Nick Nolte,) whose awards are fifteen years in the past but who still sees more value in saving individual students who might slip through the cracks than in propping up a corrupt, mass-production system, championed by his friend, sell-out administrator Roger Rubell (Judd Hirsch): “You’re job is to get them through this school and keep ’em out of trouble–that’s it.” Their similar surnames alert us to the fact that every educator faces a crossroads in career paths, and not all choose an idealistic one.
But it’s an ensemble piece, minor characters sometimes stealing the show, like an escaped mental patient recruited as a substitute Social Studies instructor, Herbert Gower (Richard Mulligan). He’s a showman, of course, but he knows that keeping his students awake is prerequisite to them learning anything, unlike his colleague ‘Ditto’ Stiles (Royal Dano).
Morgan Freeman, not long after his stint as Easy Reader on PBS’s The Electric Company, fills a wonderfully ironic role as a corrupt lawyer helping to sweep illiteracy under the rug. He and Lee Grant (as Superintendent Dr. Donna Burke) function as major villains, trying to keep the doors open and willing to skin Jurell alive if need be.
The vast majority of teaching ever represented in the American cinema portrays teachers as either devastatingly boring, or a cranky, if not insane lot. But one would never know that anything were ever taught or learned within the confines of a school building, because scenes in most films are “saved by the bell” (classes lasting, apparently, an average of 8-10 minutes in America). Whenever possible, of course, a sexual element gets thrown in for good measure (see the late Transformers 2 film for a regrettable example). No, we actually see and hear Jurell trying to teach, and his students struggling with and against him.
Teachers doesn’t sign off early–one can’t help wondering if a few honest-to-goodness educators served as consultants. Nolte fails to engage his students with the textbook material, notably Eddie Pilikian (Ralph Macchio,) and he’s most effective as a reluctant role model with the lifestyle of a broken-down loser, but with the advanced ethics of a disillusioned campaigner. His unstated theory–we sense he’s tried them all–seems to be that if he can reach the worst kid, the better ones will all come along. It’s worth a try. One fiasco involves him being drafted by Eddie and Diane (Laura Dern) into a mini-drama to terminate her unwanted pregnancy, similar to the one that lent some gravity to Cameron Crowe’s lighter, contemporaneous Fast Times at Ridgemont High. It’s still timely stuff, but speaking as one who sojourned through high school in the mid-’80s myself, Hiller also offers an authentic period piece here. Nolte doesn’t have a smart-board or computer–he has all he can do to keep the radiator in his classroom working. The kids aren’t driving 6-year-old cars as in Linklater’s often-brilliant Dazed and Confused, or ordering pizzas in class a la Fast Times, or staging detention-be-damned production numbers as in Hughes’ The Breakfast Club. At one point, during a parent-teacher conference, Macchio gets slapped across the smart-mouth by his father. It’s a sobering moment, for all of us, a reminder of how much has changed.
Hiller pulls off a rare trick in not polarizing the cast–neither the kids nor the adults escape his satire, or forfeit his sympathy. Eddie probably deserves the reminder, and his Dad also deserves collaring by Jurell.
Nolte’s major conflict with the system–whether to compromise standards to such a degree that his job becomes meaningless–resonates today as well as it did thirty years ago. Teachers haven’t gotten much respect in this country since the time of Ichabod Crane, and so the incentives to die for principle defending any particular hill or trench come mighty infrequently. Lisa Hammond (JoBeth Williams) functions in the role of Hiller’s mouthpiece, a former student who appears just in time to remind Nolte that he has made a difference, and herein the film falls prey to that charge against all works of social criticism: it’s too heavy-handed at times. “We’re not talking about business here, we’re talking about the future!” cries lawyer Hammond to her boss, ordering her to squash a lawsuit against the school. She regroups, in one of the more memorable nude scenes on screen, and it’s a bit over-the-top for a work that functions with a sustained aesthetic of realist detail to buttress its romantic elements. This isn’t helped by the semblance of a happy ending, which comes abruptly and can mistakenly leave the impression that integrity must triumph over corrupt unions and The Man. But it’s really a conclusion to a third act in the tradition of existentialist drama like Two-Lane Blacktop and even The Magnificent Seven: the Jurells and Gowers and Hammonds and especially Palikians can’t win, but it’s better for all of us that they were there, than otherwise.
In that vein, the film itself can’t be updated to HD quality no matter how much remastering/digitizing goes on, but that would be as questionable a move as updating the edgy soundtrack to a set of 21st century songs. The new Blu-Ray is short on special features, but as Hiller’s film was unavailable except in VHS for many years, it may be that you don’t own the DVD anyway. It’s well worth the screening–and if you’re an educator or librarian, or know one–the acquisition.