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Half Nelson (Ryan Fleck and Anna Boden, 2006)
In Ryan Fleck
and Anna Boden’s Half Nelson, Ryan Gosling plays an idealistic,
privileged young teacher who struggles to help his inner-city students despite a
debilitating crack habit. The premise is shaky on paper, and it hardly plays
better on the screen. Gosling tries his damndest to humanize this
screenwriter’s conception, but errs by relying too heavily on his undeniable
charisma to get him through his scenes. Even after attempting rape, he courts
audience sympathy through self-deprecating humor. Plenty of films feature
charismatic junkies without devaluing themselves, but next to his tattered
idealism, Dan’s magnetism is his defining characteristic. The script leaves
much of his past clouded in mystery, never making clear how his good-intentions
curdled into his current situation. More problematic still is Drey (Shareeka
Epps), the lone student who shares the secret of his addiction. The film seems
to contend that because she’s grown up in a poor neighborhood, she’s
acquired a preternatural understanding of the complicated problems that afflict
adults. Certainly in the crucial scene where she opts to help her binging
teacher she demonstrates uncanny wisdom and calm. This is problematic, because
the central crisis of the plot demands that she be genuinely conflicted between
the influences of two problematic father figures: Dan and a drug dealer (Anthony
Mackie, turning in the best performance of the cast) who is a friend of her
family.
Half
Nelson’s script has a series of exceptionally similar, but increasingly
incoherent, scenes in which Dan lectures his students on dialectics. Due to the
insertion this bludgeoning thematic material, one is expected to accept the
either/or moral compass that Half Nelson offers up. Dan’s interactions
with Drey never reveal much about either character, but the film has a curious
habit of suggesting through Drey’s doe eyes that Dan is a redeemable chap in
spite of his incredibly irresponsible behavior. Their relationship is so
curiously unexamined on racial, socioeconomic or sexual grounds that the film
almost seems to suggest that none of those differences matter. This attitude
would have one believe that the film is actually endorsing the liberal optimism
that took Dan down a dead end street, despite an overly ambitious third act
assault on Dan’s ex-hippie parents and a handful of references to the current
political climate. That being said, whatever confusion it holds at its core, Half
Nelson is not a total wash. Its virtues simply lie in Fleck’s tendency to
intersect the frame to create dramatic tension and in Boden’s pulsing
editorial rhythms (her juxtapositions, though, like the one that cuts between a
sex scene and a montage of Drey playing dress-up, often make no sense), instead
of in its politics and characterizations.
39
08.21.06
Jeremy Heilman
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