|
 |
Half Nelson (2006) ThinkFilm,
1 hr. 46 mins.
Starring:
Ryan Gosling, Anthony Mackie, Shareeka Epps, Tina Holmes, Stephanie
Bast, Nathan Corbett, Karen Chilton, Jay O. Sanders
Directed by:
Ryan Fleck and Anna Boden |
|
No one can deny the quiet rage and
intensifying disbelief that Half Nelson’s hold places on its impassioned
audience. Filmmakers Ryan Fleck and Anna Boden deliver a reflective and
involving coming-of-age cautionary tale about the flawed human soul and an
unlikely friendship that develops because of the recklessness of dark
psychological forces. Absorbing and structured in its haunting desperation
of addiction and social alienation Half Nelson percolates as an
insightfully intriguing character study of wounded souls on the verge of
dancing aimlessly with their inescapable demons. For what it’s worth, Half
Nelson is emotionally explosive and one this year’s best films that both
the indie and mainstream crowds should embrace with inspirational outrage.
The involvement behind the riveting Half Nelson can be traced back to
Fleck and Boden’s highly heralded 2002 short film “Gowannus, Brooklyn”.
After making the noteworthy rounds as a cinematic darling on the film
festival circuit, Fleck and Boden pushed their grainy yet introspective
and destitute fable into a feature length motion picture that sizzles in
its underlying rawness. Granted that there have been countless independent
films that have tapped into the damaged psyche pertaining to drugs and
personal disillusionment. Nevertheless, Half Nelson brings a needed
freshness to its distinctive core that is highlighted by extraordinary
performances of conviction and courage.
Ryan Gosling (“The Notebook”) registers soundly in a rousing Oscar-caliber
turn as a white twenty-something history teacher Dan Dunne who’s situated
in a predominately shabby black middle school in Brooklyn. Gosling is so
convincingly gut-wrenching as the seemingly milquetoast educator that’s
tormented by his inability to properly lead urban down-trotting charges in
a restrictive, coldly reserved school system that threatens to squash his
idealistic philosophies in teaching. What’s even more powerful about
Gosling’s bloodshot Jekyll and Hyde routine is that by day he’s a
committed and likeable presence in the classroom where he instills his
students with a sense of black pride through the struggles of civil rights
instruction. But by night, Dan is an alcoholic and stone heroin junkie
whose sweet veneer as a motivating young teacher is seriously undercut by
the squalor and nastiness of his harrowing drug habit.
The real dramatic link of dependency occurs when one of Dan’s students
named Drey (amazingly portrayed by “Gowannus, Brooklyn’s” newcomer
Shareeka Epps) catches him smoking crack and getting high in the school’s
bathroom. From that standpoint, Dan realizes a couple of revelations.
First his drug and drinking consumption is vastly sinister and out of
control. Secondly, he understands that poor Drey is caught up in her own
battle involving the pervasive drug scene as she needs to break away from
her inflicted madness. Together, the problematic pair forges an unlikely
friendship and look to conquer the common denominator—substance abuse—that
affects them in different capacities.
The tremendous element that guides the penetrating pathos behind Half
Nelson is the troubled journey that each participant travels down so
precariously. Naturally Dan’s descent into his bottomless pit of despair
leaves a lasting impression because we see how the destruction of illegal
chemical dependency can overtake the best of us—even youthful professional
types in academia that succumb to the temptation of pressurized escapism.
It’s smoking mirrors with Dan Dunne because he’s living a bold lie as the
drugs, booze and fast women reveal a fierce and moody vulnerability that
rivals his polished image as a role model for impressionable minds that
sit in on his daytime lectures. Dan’s secret life of snorting, binging and
unprotected sexual carousing is a frustrating cry for help as a complex
individual bound by his ambivalence for dictating an otherwise chaotic
existence. In short, Dan’s a simmering ball of confusion and
contradictions.
In the case of Drey, her connection to narcotics is due to packaging and
delivering the poison on the street for family friend and devoted drug
pusher Frankie (Anthony Mackey, “Million Dollar Baby”, “She Hate Me”).
Interestingly, both Dan and Frankie are alluring as father figure
influences for the dejected Drey. These men are captivating in the weary
eyes of Drey because they represent immediate male-oriented bonding that
is sorely missing in this young girl’s topsy-turvy world. Although Dan and
Frankie are far from saintly fatherhood icons, they are her convenient
mentors and they do care for her well-being despite their major hostile
hang-ups.
Solidly heart-breaking and thought-provoking in spirit, Half Nelson
resonates as a powerful portrait of stark oddities. The direction by
co-helmers Freck and Boder packs a whispering wallop that’s so defined and
genuinely real. This film is a concoction of identities looking to burst
at the seams. Race relations, equal opportunity drudgery amongst the
privileged and poor, the exploitation of the weak-minded—whatever the
brand of malaise that is being touted about certainly gives Half Nelson
its disdaining potency.
Gosling is such a moving fixture as the gasping teacher torn by his
devices. He’s intelligent, forceful and has the best of intentions when
attached to his scholastic career. When Gosling’s Dan Dunne “white
do-gooder” is as tainted, exposed and as raggedly wrecked as his
ghetto-oriented surroundings among the so-called demographics in which you
would expect immense crack-craving tendencies, the astounding message
peaks so skillfully. Every twitch or blank stare that Gosling generates as
his daily fix flourishes definitely induces a sigh of both sympathy and
disgust. Clearly, Gosling is challenged by this tricky role and deserves
the attention of the Academy Award voters that should stand up and take
notice. No doubt that Gosling is perhaps one of the most resilient and
enterprising young actors on the rise.
Instinctively, first-time actress Epps is so effectively satisfying as the
scrutinized Drey. She’s dynamic on screen as you are instantly drawn to
her isolation and self-defeating mode in a piercing adolescence that is
threatening in its distant incompleteness. When playing in the arena of
everlasting angst and anxiety-ridden turmoil, both Gosling and Epps are
stunning in a relationship mired in hopelessness. Their vibes toward one
another is gritty and intoxicatingly inspired. As the resident thuggish
pusherman, Mackie’s Frankie is strangely charismatic and brings a nifty
realism to a cad that’s refreshingly robust in deviousness. Mackie, much
like co-star Gosling, is an adventurous young actor to look out for as he
continues his impressive cinematic impact.
The rewarding highlight about Half Nelson is its impeccable acting,
writing and sturdy ability to parlay a simple story of human frailty and
magnify its consciousness where it surges with hardened eloquence. Drug
addicts in a downward spiral are something that will be automatically
devastating if given the proper balance of urgency and originality. As for
Half Nelson, this bleak shot in the arm is worth experiencing the jolting
“jones in the bones”. |
