American History X (1998)

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Although it is somewhat heavy handed, American History X has great performances and a shocking brutality that leaves a large impression on you.

The film is carried by Edward Norton, he portrays his character Derek Vinyard with real gusto and vitriol; what a howling, credibility defacing decision it was for Robert Benigni to trump Norton at the Oscars for his vexing role in the saccharine turd that is Life is Beautiful.

Vinyard is an intelligent young man from a middle-class suburban home, but he rapidly develops fervent fascist views after his father is murdered by a black gunman. Vinyard has clear leadership skills and he unfortunately channels them in all the wrong directions. His fierce oration makes him a notable figure in the Californian neo-Nazi movement, bringing him to the attention of veteran racist Cameron Alexander (Stacy Keach), who is well cast as the creepy, manipulative leader. The influence of both Derek and Cameron mean that Derek’s younger brother, the rather more placid Danny (Edward Furlong), also harbours dangerous neo-Nazism, although not with the same zeal as his brother.

To its merit, the film is unrestrained in its depiction of violent racism. With their foolish understanding of Nazism, the swastika adorned skinheads have a palpable hatred of all things un-Aryan. No one’s hatred is greater than Vinyard’s, who commits a brutal act of street, or rather curb, justice that has since become infamous. So abhorrent is the scene that it entered my top 10 most painful scenes in cinema history.

It’s Vinyard’s act of violence that lands him in prison, where, perhaps predictably, he has a change of heart. I felt that the manner in which Vinyard changes is rather too pronounced and straight forward, the transformation of such an extreme psychology should have been more nuanced in its depiction – the shift of a psychological complex is one of subtle shades, not clearly defined, narrative friendly episodes.

However, I think a good argument can be had about Vinyard’s rapid change. Beneath all the extremism is a measured, intelligent man; he isn’t an ignorant, retrograde fool, he’s a subject one can work with.  After all, his realisation isn’t completely instantaneous, he integrates with the white thugs of his wing, which appears to be some variation of the Aryan Brotherhood, but their business practices are at odds with his strict principles. Combine this with his repeated and isolated work detail with the black Lamont (Guy Torry) (which I should think is an unlikely scenario for obvious reasons), and his sudden and considerable change of circumstance could have woken him up.

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There’s a whiff of stereotypical characterisation at times; the two principal black characters of the film Dr. Sweeney (Avery Brooks) and the aforementioned Lamont are within the realm of the stock character, the latter particularly. They can both be deemed as Magical Negroes, a term that refers to black characters whose sole purpose is to serve the development of a white character. Sweeney is Derek’s former and Danny’s current high school teacher. He is a respected, righteous man with a seemingly infinite wisdom, disarming everyone with sagacious monologues and philosophical questions that are delivered with his deep, portentous voice. His character is heavily influenced by civil rights figures such as Malcolm X and Martin Luther King Jr.

Lamont, the inmate who Vinyard has repeated laundry duty with, is portrayed by comedian Guy Torry. I haven’t seen his stand-up, but his manic, animated performance is certainly reminiscent of a Chris Rock gig. He’s a rather frivolous character that’s little more than narrative function that services Vinyard’s character development.

It’s not a surprise to find that director Tony Kaye’s career began in advertising. With repeated use of slow motion and a black and white palette for flashback scenes, Kaye’s visual flair has very much transferred to the silver screen. Considering History’s subject matter, I felt the film was sometimes stylish to a fault, particularly during a racial territorial dispute on a basketball court that’s constructed in a way through aesthetics and music that inclines the viewer to support the white men.

Other examples of ill-judgement were during its humorous moments concerning the obesely corpulent and repellent Seth (Ethan Suplee), particularly during a brutal assault on immigrant supermarket staff where he steals a large plastic burger, it’s not funny and is inappropriate in its placing.

Although its morality tale is heavy handed and simplistic, I must reiterate that American History X is a highly memorable film driven by an incendiary Edward Norton and an unrestrained, vicious intensity that few contemporary films strive for.

84% 

Three Kings (1999)

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Three Kings is a war film that’s decent yet formulaic and easy to forget.

The film follows Archie Gates (George Clooney), Troy Barlow (Mark Wahlberg) and Chief Elgin (Ice Cube) as they look for a stash of gold after finding a secret map lodged in a prisoner of war’s anus – the premise is removed from reality to an extent where it loses credibility as both a war film and a piece of drama. The synopsis on the Blu-Ray case says that Three Kings is ‘a surreal comedy and a powerful drama of human compassion’. That is the problem with the film, it strives to be two things at once and ultimately fails in succeeding at either.

The foundations of its trite, formulaic narrative are laid in the film’s early moments. Gates stresses that once they get their gold from the bunker they’re getting straight out of there, but naturally their swift plan goes awry when the men’s conscience throw them into a union with the noble Iraqi rebels and a bloody conflict with Saddam Hussein’s army. This is second-rate Rambo territory, yet it gets over 90% on Rotten Tomatoes.

There are moments of style and surrealism, for example there are several scenes that show what happens to one’s innards when a bullet passes through them, the effects are terrifically grisly and macabre. The first gunfight is also in a strange, choppy slow motion that’s silent apart from loud, single gunshots. However, when the tension, of which there is some I admit, is broken by the sound of American and Iraqi rifles, there is a palpable sense of safety amongst the Americans; despite the overwhelming numbers of Hussein’s troops, I never felt that the Three Kings were truly in any danger. Even when Troy is captured and subjected to moments of nasty torture, I wasn’t particularly bothered because I knew he’d be rescued. It is Troy’s capture that, with a few exceptions, signals the steady decline of the film.

Jean Baudrillard said that ‘the Gulf War did not take place’, referring to how the United States-led coalition engaged in a war of safe distances with vastly superior technology. Baudrillard also believed that the media coverage was mere simulacrum, a sanitised recreation of events that ignored Iraqi suffering and championed US objectives. Seasoned journalist Adriana Cruz (Nora Dunn) is a personification of this, she’s depicted as being self-centred and interested only in her career rather than her subject. There’s a scene where she cries at the sight of oil slathered animals, however it’s quite apparent that she’s really mourning the absence of a good story.

Baudrillard’s notions are corroborated in exchanges between Troy and Iraqi Captain Said (Said Taghmaoui) that serve as the film’s main moments of war moralising. With Troy bound to a chair and wired with electric cables, Said tells him that his son died in the bombing of Baghdad, asking Troy how he’d feel if his daughter was killed in similar circumstances, a thought that he acknowledges as sheer hypothesis ‘Very nice for you bro, she’s safe in Arizona without the bombs and concrete’. The impact of this scene is intensified by cutaway clips that visualise their dialogue of war and death; despite Said’s torture of Troy, the scene highlights fundamental similarities between the two men, giving Said humanity. Indeed, the film succeeds in giving many of the Iraqi characters a sense of identity. Despite of all this, I felt the film was following the well trodden path of Hollywood war moralising in a rather hackneyed manner.

After what feels longer than 110 minutes, the film confirms just how formulaic it is when its farcical story is wrapped up so very neatly, it sucks out any modicum of credibility that may have remained. What’s left is a film that is by no means terrible but a rather mediocre affair with the odd flash of political commentary and explosive spectacle that has been done better elsewhere. I shouldn’t be too surprised by its mediocrity, after all who talks about Three Kings anymore? It certainly hasn’t entered the pantheon of great war films, it didn’t make the impact that The Hurt Locker did. Many would forget that the director of Silver Linings Playbook (okay) and American Hustle (hideously overrated) once made a war film, and I may do too.

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