Amazon.com: Brendan Fraser plays a student attending a wealthy boarding school on a football scholarship in the 1950s. When the other kids find out he's Jewish--a fact he's been hiding--his fortunes and relationships instantly change. The film is pretty much what one would expect with that scenario: a story of bigotry, conflict, the hero trying to hang on. In the end, good intentions are the driving force of the movie, but it is not much more than the sum of its obvious parts. Directed by Dick Wolf, creator of television's Law and Order.--Tom Keogh
A complicated movie about a comlicated subject Watch this movie, and then talk about it with people whom you respect. When the movie ends, we realize the story isn't really over. Cinematically this forces us to question what's going to happen next, and should beg discussion by the audience.
If you read the other reviews (especially the negative reviews) before watching this movie you'll probably wonder how this seemingly formulaic prep-school movie could be as good as it is. Well, here's the answer: the movie was not meant to be a feel-good family movie with a happy ending. Rather, it was meant to make you squirm just a bit, and in the end question how we in the USA could possibly have come to a point of relegating ANY race or group of people to second-tier status. The movie simply offers that reality in counterpoise with the supposedly perfect world of an upper-class prep school, but you and I know it's happening around us right now, where we live and where we work.
Another reviewer took the sexual low road and railed against the shower scene. However, consider this: every time these boys hit the showers (they were football players, after all) one could reasonably expect this could be the place David Green's secret is discovered. Also, in a group shower situation one's defenses are completely down - there is nothing behind which to hide. For those of us who have been in the locker room, who have been part of a close team, the scene works and there is no more effective (and poignant) place for what is really the first of 2 climactic scenes in the movie. The scene wasn't sexual; it was revealing as a double-entendre: David's secret is out, and he can no longer hide who he is.
This movie was meant to be watched and then discussed; it's still not over.
By the way -- I gave this movie 4 stars because it isn't perfect; and because Ben Affleck proves in this movie that "Gigli" is really just about as good as he is going to get.
FREEDOM OF RELIGION? This is a very fine movie,well acted, once one clears the initial premise:imagine a strict Catholic Prep School of the 1950's admitting anyone who wasn't Catholic regardless of his football prowess.Once past that hurdle, it's clear sailing for the viewer.Fraser,as expected, lives up to his reputation on the field and in the classroom, and also steals Damon's girlfriend. Damon comes from a long line of Harvard graduates,and in succession is forced to play "second fiddle" to Fraser on the field, in the social scene,in class popularity.Enter bigotry, exit Fraser's school standing. Only late in the movie is his Judaic background exposed, leaving him the scapegoat in a cheating scandal,facing expulsion. Only at the very end is Damon's virulent bigotry revealed, and Damon's true role in the scandal is exposed. Immediate expulsion follows. But, one is left with the clear distinction that the remainder of Fraser's Senior year, if not his entire life,will be forever changed, and not for the better.
beautiful blueprint-- today's hollywood and yesterday's technicians OK, so right away, have to disclose that i was an extra on this shoot for three months growing up in Boston. My perspective is a bit askew, with nostalgia and personal bias. But re-watching this movie on television the other day, a flood of memories-- and the justification for my film school education-- return.
At the time (early 90;s), the period (1955) elements were more impressive to me than the subject matter. However, that period setting also distracts at some times. The sceenplay is written in a very "on the nose" television time constrained style ... one of those "not real" cardboardy movies that is a very direct vehicle for the message, not much in the way of character or extra story development. This is an amazing ensemble of actors, that compete for the very few words available.
But the film is effective nonetheless if you're a fan of period reproduction, and the visual escape of watching an idealized America that (im told) no longer exists today; but whose subject matter does. odd juxtapositioning.
For true hollywood-craft production value, this is a great achievement by the best of that day's (early 90's) period re-creation technicians. Jeanine Claudia Oppenwall, production designer (very period affective, noted for other period pieces such as Sean Penn's "Paper Moon", pure, elegant, classic america); Cinematographer Freddie Francis (who shot many of the Hammer Studios gothic horror masterpieces of the 60s and 70s), who I remember as surprisingly short, but a very funny old english elf; Ann Roth, classic american-- the Ralph Lauren of costume design--giving us Brooks Brothers, well tailored men.
Then there's Robert Mandell. A man who, I'm told, is a very visually focused director. From my perspective, looking AT him, he looked like a frizzy haired aging wizard. We know most of the great names that made and were made by this film. But Robert Mandell doesnt really stick out to anybody as one. I think the film could have been recieved much differently with a stronger name behind the lens. However, from behind to in front of the camera, as a hollywood studio ornament or showpiece, School Ties is an almost unbelievable ensemble of great filmmaking/acting talent.
A dream team, if you will. Ultimately However, as a dramatic, authentic "real" movie, accessible to modern youth, the film Has sort of a high school play quality about it... as if the actors and sets are all working to convince us of the inaccessible fantasy land of the 50's. this is a cute, but ultimately negative, annoyance. the film narrows its appeal this way, as more a harkening to yesteryear for baby boomers; rather than a powerful strong dramatic vehicle for some very talented up-and-coming actors of the day-- true actors.
Alot of the talent was New York cast, as I recall; so right away the movie projects that mature and sophisticated sort of "east coast stage actor" independant film tone, dramatically. But their script is sort of a cotton candy version of Dead Poets Society. Like, combined together into one film, the two would have made a powerfully dramatic, visually stunning classic.
View School Ties as a visually beautifully nostalgic painting, not a dramatic masterpiece. A shame, as I remember quite a lot of great stuff; some shot and some in the script that never made it to the screen; more scenes of david and his family in the first act; a night shoot involving fake snow; more dining hall sequences (I know because it was literally OVER 100 degrees in that old second story location with no windows-- the prop food was melting, as were all of us in suits, for two straight days). But what a fun experience playing dress up; getting in and out of old cars; wearing clothes from that era, etc... I digress. But, as you see in the finished product, this is mostly what translates to the big screen-- not heavy on dramatic development. For the principal actors, though, that sense of career anticipation and positive excitment I think gives the movie its own special, sweetness. Amy Locane so sweet and pretty on-set; all the guys signing autographs and laughing about it... everyone having fun making this movie.
Ulitmately, it is Brendan Fraser who MAKES this film believable; the only actor who's not in the trap of convincing us that its 1955.
Regardless, the film does tackle anti-semitism in a mass market way. Then head of Paramount, Sherry Lansing, (who I rememember as a very smiley, intense faced woman jumping in and out of her canvas chair) had been pushing this film through development for years, no doubt the reason for its commerical release.
Wonderfully warming movie I saw this movie as a young child of about 8 or 9 and I still love it today as a 23 year old. It is not one of those movies that you watch as a child but grow out of as you grow up, it is a story that sticks with you. The acting in the movie was so wonderful and realistic and you could relate to each of the character's plights. It's amazing to look at the actors in the movie then and see how far they have come in their careers now. The ending of the movie was great as well. You watch this movie and see the anti-semitism, but you see how it transcribes easily to other religions, races, ethnicities and you have hope at the end that good will win out. This movie touches me immensely. It may not be one of the greatest movies ever made, but it is still a great story with wonderful acting and directing.
Very good movie. This was a good chance to see these excellent actors when they were just getting started. I enjoyed it very much.
Anything Goes Trivia
Megaton Man
Tailipoe
Trevor
