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Even so, Fleck's narrative refuses to glorify the consciousness-generating Mr. Dunne. Principally, Half Nelson's reversal of generic norms emerges when it is revealed that Gosling's character smokes crack -- make no mistake, Fleck is endeavoring to problematize the binary between white and black where smoking crack is a behavior of the latter. One of his students, Drey (Shareeka Epps), discovers the altered educator in the ladies room after her basketball game. As we soon learn, Drey's brother is incarcerated, and his business associate, Anthony Mackie as Frank, is a drug dealer with both proprietary feelings for the vulnerable 13 year-old and also designs to involve her in the business. Ultimately, she acquiesces, though her subsequent exposure to Dunne smoking rock ends her foray into dealing.
For his part, Dunne's use of this stigmatized substance can be explained for its facility in interrogating the racial dialectical that shapes the picture's context. That he uses drugs at all reflects an attempt "to get by," to somehow satiate the feelings of injustice that undoubtedly consume Fleck's hero. At the same time, Gosling's Dunne does engage with the social inequities that plague society. On the micro level, this is reflected in his attempts to protect Drey from Frank, which he prefaces with the knowledge that he "should be the last person to say this." However, owing to the film's project of unmooring the dialectics it preaches, Frank also warns Drey to be cautious of her base-head teacher.
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At this point, I would feel remiss were I not to mention the film's performances, which remain its principle popular claim to fame. At the center, Ryan Gosling's Mr. Dunne achieves an understatement that seems to be of a type with the film's iteration of nuance (that is, in laying claim to the competing factors that forge personality and finally humanity). Similarly, Epps and Mackie also exhibit this tendency toward underplaying that mute a narrative that is in other ways less measured -- as in again the historical lessons of Mr. Dunne's class. As per Mr. Fleck's visual style, the director sustains a like staidness throughout, composing his spaces in static set-ups that intimate a certain unwillingness to intercede and on the most practical level serve to represent the subtleties of his performances.
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Nevertheless, by initially refusing the spectator a view of the speakers' mouths, Straub and Huillet reposition the voice as a mystical object that in fact confirms a presence while remaining invisible to the viewer. Of course, the voice is always de-spatialized (and unseeable) in this manner, but in the filmmakers' intentional introduction of their dialogues thusly, they remind of us of this essential property of sound -- of its invisible presence. It is only later that these sounds are embodied, that they are grounded in the physical presence of a human figure. As such, Straub and Huillet while removing the gods' mystery in one respect, are reintroducing a form of magic in another -- again, by focusing our attention on the voice's lack of spatialization. In other words, the filmmakers provide an analogy for representing the immaterial in cinema through their gradual reunification of voice and body, even if this analogy reappropriates the miraculous for cinema itself, and its accorded materiality.
7 comments:
I just read your review twice and I have no idea whether you liked Half Nelson or not. Also, your writing is getting too accessible. Please make it denser.
Tee hee. You need to write about something like Ghost Rider like this.
Matt, let's put it this way: I found Jus Rhyme embarrassing.
I too had to read this twice to have any idea whether you liked Half Nelson. (And to think I spent most of my college career reading Hegel and Marx!) I finally found the one sentence that answered my question (I think):
"In other words, Half Nelson makes paternalism palatable by artfully reversing its coordinates."
I love the use of "in other words." It seems terribly, and hilariously, appropriate.
Am I allowed to request reviews of particular films from you? Or does that kill the whole authorial organizing principle of a blog?
Emily, I would absolutely love it if you requested a specific review. My spring break is coming up so I might even have the time.
By the way, you did find the key sentence... congratulations!
From a completely selfish perspective, I like reading your reviews of movies I've seen. (That way I have a shot at following your arguments). This week I saw Zodiac, Black Snake Moan, The Lives of Others, and Tears of the Black Tiger, all of which struck me as worthy of further consideration and discussion, in one way or another. This weekend I'll see The Host (though not 300 if you paid me). I also saw my first David Gordon Green movie, George Washington, which baffled me completely--it's been a long time since I've been so unsure of what to make of a picture.
Thanks Emily, I'm on it.
This reads like it was written by a sixth grader with a thesaurus.
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