Review

Culture

Education

7 September 2023

6 min read

Back to school on the big screen

It’s back to school for many. Yaroslav Walker picks his favourite films capturing the friendship, the drama, and the expectation of school life and beyond.

Yaroslav Walker

Yaroslav is assistant priest at Holy Trinity, Sloane Square, London.

School students walk across a playground confidently talking and laughing with us

The History Boys.

BBC Films.

The summer is coming to an end, the last BBQ embers are sputtering to sleep, the weather…appears not to have been told, at least in London! Sweltering! Most importantly of all, our children are back to school, nursery or college. In light of this momentous time of year here are my top five back to school film choices, one each for the last five decades, and some honourable mentions.

1970s - American Grafitti

A teenage couple dressed in 1950s clothes sit on a kerb in deep conversation.

Charles Martin Smith and Candy Clark in American Graffiti

American Graffiti isn’t just a lovely piece of nostalgia now, it was back then. A misty-eyed look back at 60s Americana, this film is packed with slicked-back hair, classic cars, diners with roller-skating waitresses, and the complexities of teenage romance. Four friends meet on the last day of summer to experience the joys of a California evening one last time before two of them jet off to college ‘back East’. Curt is unsure about his future and is even considering staying in his hometown. Steve is hubristically thrilled about the prospect of fleeing his humdrum life and even shedding his loving girlfriend for new conquests. Terry is insecure and simply desperate to prove he is as good as everyone else, and Milner is the older friend who never left town and is a local-legend drag-racer. Over the course of a long night they go their separate ways, have adventures, and finally find some closure to their ongoing anxieties: one finds new confidence, another begins to take risks, another learns to be happy with his lot, and Milner wins a drag race…oh, an learns the genuine happiness that can be found in adult responsibility. It's too long, but it is a lovely atmosphere to meander about in, and is edited superbly so it never really drags. With superb performances and a soundtrack bursting with 50s and 60s hits, this is well worth a watch.

1980s - The Breakfast Club

Five glum students perch on stools in school room.

Molly Ringwald, Emilio Estevez, Judd Nelson, Ally Sheedy, and Anthony Michael Hall in The Breakfast Club.

Well what else could it have been!? In many ways the film set the classic pattern of US High School living (which did and sometimes still does inform UK attitudes) and the High School movie. John Hughes didn’t invent these archetypes and wasn’t the first to put them on celluloid, but he was the master of crystallising them. The Breakfast Club presents an all-day detention that just so happens to have a representative from every social caste of the High School system: Andrew the jock (Emelio Esteves), Brian the nerd (Anthony Michael Hall), Allison the weirdo (Ally Sheedy), Claire the popular girl (Molly Ringwald), and Bender the burnout (Judd Nelson). These five kids have nothing in common but their dislike of the domineering Vice-Principal (Paul Gleason was born for this role!)…OR DO THEY!? Whereas American Graffiti explored the process of maturing into adulthood and the taking charge of one’s sense of self (with a background hum of Vietnam paranoia and the end of golden Americana days), The Breakfast Club is much more forthright in demonstrating just how difficult being a teenager is. These kids don’t need help ‘growing up’, if anything they need to be allowed to be kids. Over the course of the day their defences break down and they learn that each of them has expectations and pressures that seem overwhelming, and grown to have genuine respect and compassion for each other. A script that is sometimes on-the-nose and prone to soliloquy is saved by the sheer bravura of the performances. A go to comfort film, that will always be iconic. Any film which ends with Simple Minds is a 5 star affair for me.

1990s - The Faculty

Two students walk down a school corridor, one looking away.

Elijah Wood and Jordana Brewster in The Faculty.

We move to slightly scarier fare with the 90s. The Faculty asks the question you were all asking…what if Invasion of the Bodysnatchers took place in an American high school? The answer is subtext; a lot of subtext and allegory. You know, when you’re a teenager, everything can seem quite tough. The world can seem like it's against you. It can seem like everyone you know has changed overnight and you’re lost in a sea of hostile faces. It can seem like a parasitic alien is using your school as a beachhead for a planetary takeover. The Faculty is cinematic junk-food and unapologetically so. It is camp and silly and fun. It takes those Hughesian archetypes, puts them on steroids, and then throws them into a plot joyfully riffing on the most classic sci-fi and horror tropes - all held nicely together with a quip-filled Kevin Williamson screenplay. An underrated Robert Rodriguez directorial effort which shows that he can work well across genres, and an excellent opportunity to see early performances from Josh Hartnett, Elijah Wood, Jon Stewart, and…wait…is that Usher in that film!?

2000s - The History Boys

Yes, we move to British shores at last. Alan Bennett’s stage-play is brought to beautiful cinematic life by original director Nicholas Hytner, who has an excellent track record of translating Bennett’s work from stage to screen. It’s another flash of nostalgia (which all such films are, as adult writers and directors look back to their own school days and teenage angst and adventure) which transports the viewer to 1980s Sheffield. A group of friends at the local Grammar School have all done very well in their A Levels and are now put to the task of preparing for the Oxford entrance exams. All are lovers of History (well, maybe not Rudge) and have received an enviously eclectic education in the full gamut of culture from the eccentric and long-suffering Hector. Like all the films above, The History Boys explores the challenges of adolescence, but with a specific focus on ‘doing well’ in a particularly British way. Sporting excellence or popularity aren’t the measure of student success - Oxbridge is. The teachers don’t push the young men nearly as much as they do themselves, seeing a place at Oxford as the best form of advancement. The witty and moving script also touches on the issue of infatuation, attraction, sexual fluidity, and chaste reciprocity: Posner’s love for Dakin being encouraged only so far in some sort of mutually agreed stand-off, Dakin’s willingness to sleep with the substitute teacher Irwin, and (of course) Hector’s tradition of giving the boys a ride home on his motorcycle and…appreciating them aesthetically. Not easy subject matter, but written and directed and shot and performed with such sensitivity that you can’t help but fall in love with every character.

2010s - The Inbetweeners Movie

Two students look at each in in incomprehension.

Blake Harrison and Simon Bird in The Inbetweeners.

We end with crudity. Crudity and friendship and a booze-filled week in Crete. Lovers of the TV show (I was one) - which explored the trials and tribulations of four unpopular, unremarkable, and unfortunate teens at a British comprehensive school- were well served by this upgrade. TV comedies, like plays, rarely translate well; The Inbetweeners Movie is an honourable exception. Will, Simon, Jay, and Neil have come to the end of their school days and decide that they need one final hurrah before they go their separate ways. The proceeding 90 minutes is a torrent of drunken antics, foul-mouthed discourse, and crass toilet humour, all threaded together by hapless and fruitless sexual intrigue. 90 mins of that might seem like it would wear thin, but The Inbetweeners Movie is too kind-hearted to go stale (unlike its successor which was a genuinely squalid and unpleasant affair which had me questioning humanity). The four young men are so pathetic in the true sense of the word, that you can’t help but cheer for them. The overall message of friendship as a virtue that transcends the ups-and-downs of life give the salty humour a sweet edge. For a certain generation - mine - this might be the definitive British school movie.

Honourable Mentions

Grease

Sort of like American Graffiti…but better. I’m talking Travolta, I’m talking Newton-John, I’m talking songs that are bullet-proof! Graffiti is on the official list because it speaks to the many cultural and political undercurrents of the time…but Grease is so much more fun. If you can only see one of the two, see Grease!

Gregory’s Girl

Pipped by Breakfast because of the archetypes and Simple Minds, but probably one of the finest British rom-coms ever!

Mean Girls

Obviously. It's so fetch!

Article

America

Conspiracy theory

Culture

Politics

18 September 2024

5 min read

US election: the primal stories trumping facts

Projections and polls cannot capture the power of stories shaping identity.

Jared Stacy

Jared Stacy holds a Theological Ethics PhD from the University of Aberdeen. His research focuses conspiracy theory, politics, and evangelicalism.

a map depicts US states coloured red and blue.

538 election prediction map.

ABC News.

Washington D.C. — Election throes in America are intensifying while citizens prepare to cast their votes. The last week alone has been something like a whirlwind, not to mention the entire campaign itself.

Last week, Americans tuned into the first and possibly final Presidential debate between Trump and Harris. On the heels of the debate came a flurry of propaganda leveled by JD Vance (and promoted by Trump) against Haitian migrant communities in Ohio. These claims resulted in bomb threats and school closures.

And to wrap up the week, a second assassination attempt on Donald Trump in nearly as many months. Trump and his campaign, quicker and more direct that the first attempt, quickly cast the blame towards Democrats, specifically for what they see as violent rhetoric in describing Trump as a “threat to democracy.” Trump meanwhile continues to campaign on threats and claims of election fraud, refusing to signal he’d accept the certified results of the election in the event he loses.

That’s just another week in an unpredictable American presidential election.

Americans are besieged, all of us, by a throng of pollsters, partisans, and pundits. Each trying to ride the raging bull of the election cycle.

And life goes on. For now, in this time, in my small corner of American life, I find there is this mixture of exhausted apathy and existential rage. In view of the spectacle, there’s a general exasperation of “what will happen next?” But more personally, dispersed on social media, is the existential zeal and dread—“we” have to defeat “them!”

The danger of this mixture is twofold. Just as odd as it is potent. It is also combustible. And just as it can lay dormant; it can also be summoned by a mere spark.

Americans are besieged, all of us, by a throng of pollsters, partisans, and pundits. Each trying to ride the raging bull of the election cycle with predictions and projections. Some offer prayer.

I listen in on conservative Christian talk radio. Prayers offered on air for God to intervene. What follows is a litany of slogans— “secure our borders” and “defend life” and “the economy” — and of course prayers for the salvation of those who think differently.

Then, there’s more daring outrage merchants with deep pockets. Those who try to shift the election through nefarious means. Like the case of Tenet Media, a media network of right-wing American podcasters who were recently indicted by the Justice Department for receiving Russian funds through fronted companies.

It seems to me that the heart of the matter in the midst of this election, deeper than policy and beyond the spectacle, is that none of us are entirely sure what reality another person inhabits.

A new study published last week found that most registered Republicans (at 67 per cent) trust the Trump campaign as their primary source for election information. Trump’s word, for nearly three quarters of his party, is given more authority than government certification, media-based news, or local news.

This raises the possibility that, in 50-some-odd days, if Trump refuses to concede, if he repeats claims of election fraud, his base seems ready and willing to believe it.

Our social and political worlds have been set on fire not for want of facts but by stories which overpower fact with meaning.

Alongside the debates about policy, the propaganda that stokes division and dehumanizes migrant communities, is a deeper crisis of source authority. Of not just “facts” but truth, of meaning, of reality.

The study revealed that most Americans signal they tend to trust information that comes from “data” and “facts.” But oddly enough, nothing about that statement seems to accord with the on the ground reality of America’s social fabric.

We should know by now: facts have never been enough.

100 years ago, as novelist Rebecca West reflected on the chaotic series of events that sparked World War I, she admitted, “I shall never be able to understand how it happened. It is not that there are too few facts available, but that there are too many.”

What seems “real” for many Americans is not (and perhaps has never been) rooted entirely in the all-powerful “fact.” Our social and political worlds have been set on fire not for want of facts but by stories which overpower fact with meaning. These stories are primal. They’re the kind which create identities and bind communities. They are rich in meaning and so prove entirely immune to fact-checking operations. Source authority has no power apart from primal stories. And though projections and polls tend to focus on the data, they cannot capture the power of stories which create identity and contain community. This is the stuff the vote is made of, too.

This past week, JD Vance defended his propaganda in the form of conspiracy theories of Haitian migrants eating pets by telling CNN, “If I have to create stories so that the American media actually pays attention to the suffering of the American people, then that's what I'm going to do.”

Ends-justifies-means has always been ascendant in politics. Nobody is arguing that MAGA invented political expediency. But this election is careening towards deep waters which we would do well to avoid.

“Propaganda is a means to an end,” said Reich Minister of Propaganda Joseph Goebbels in 1934 before an audience at Nuremberg, “…it provides the background music...[it] miraculously makes the unpopular popular, enabling even a government’s most difficult decisions to secure the resolute support of the people.”

I do not know what the next 50 days will hold. I remain deeply concerned that the word of Trump aspires to assume an authority which sees democracy as a meddling imposition in one man’s destiny. But I do know that none of this is fated. As Augustine observed during the throes of Rome’s collapse: “Bad times! Hard times!” this is what they are saying. But let us live well and the times shall be well. We are the times. Such as we are, such are the times.

May it be so.