When I first saw American History X a few years ago, it had quite an impact on me. Since then I have re-watched it several times and have come to the conclusion that it is one of the most powerful movies ever made. What has really stuck with me over the years is its message. It’s a film that will keep you thinking long after viewing and will draw you back to it. This is definitely a film you have to see more than once to fully appreciate.
The film is a dark tale about Derek Vinyard (Edward Norton), a prominent Neo-Nazi figure in his neighbourhood, who after imprisonment returns a different man and struggles to prevent his younger brother Danny (Edward Furlong) from being caught up in the same situation. It deals with American race relations, the brutal nature of imprisonment, and the way in which family members can foster bigoted views in one another. The late Roger Ebert criticised the film for a disjointed structure, “The movie needs sweep where it only has plot”, but I don’t see this as the case. The scenes do jump around a bit, but I believe this adds to the story and is never done in a disorientating fashion. Considering the problems during production it’s an incredibly well formed film.
Tony Kaye (Director & Cinematographer) uses both black & white and colour film stock to contrast the flashbacks, with the period after Derek’s release. There are some beautiful slow motion shots in the colour segments but it’s the black and white scenes that have the most impact, magnificently filmed whilst quite distressing to watch. Though in many ways it’s the films editing which brings it together and much of the credit here should go to Jerry Greenberg (The French Connection, Apocalypse Now) and Edward Norton, who were brought in to restructure a third edit after Kaye’s first two did not fulfill New Line’s expectations. It was this third edit that would become the theatrical release, yet Kaye completely disowned it, even attempting to remove his name from the film. If you’re interested in what Kaye’s workprint cut would have looked like then this is a good compilation.
The heart-breaking ending is a fitting conclusion for a film of this nature, reminding us that all of humanity is capable of these actions, no matter what race or culture. This is a movie that is constantly playing with your emotions, through its many disturbing yet beautiful scenes. It is not afraid to rip your heart out and kicked it around like a hacky sack every once in a while. But the most enduring message is in the close. With the final shots of the beach at sunset as Danny quotes Lincoln, we are given a faint glimmer of hope for humanity amongst the darkness, and it is that hope that will stick with me forever.
Edward
On first viewing, American History X could be construed as a very controversial film. Indeed the subject matter is that of neo-nazism in America. But once you push past the surface layer, you find a film with some very diverse themes.
The major thread that runs throughout the film is that of redemption and rehabilitation. During his incarceration, Derek comes to see that the neo-Nazi rhetoric that was hammered into him may not be as solid as he thought. This comes as a result of his experiences with the other white power inmates, who don't quite believe in the cause as he does. He eventually changes his tune when he befriends a black inmate.
The other related theme is that of brotherhood. This is shown throughout the film with Derek's influence over Danny. It is probably true that Danny too would have been able to be rehabilitated if he didn't meet an untimely end.
The performances are really what makes this film. Edward Norton gives a stellar performance. His is both heinously evil and, as a reformed man, kind, good hearted and tolerant of those who still belong to the life he left behind. Stacy Keach is fantastic as the leader of the neo-nazis.
The two other amazing performances come from Avery Brooks and Elliott Gould, whose characters come under attack from Derek's racist rhetoric. They play different sides of the same coin, Brooks' Dr. Sweeney has the ability to shrug off the remarks, whereas Gould's Murray internalises the mocking and shows how affected by it he really is.
This also is an example of a film that really benefits from a cinematographer directing. Kaye is a master at crafting evocative and meaningful shots. There are many uses of slow motion that give heavy meaning to the character's emotions and actions. The decision to have half the movie in black and white is a bold one, but ultimately pays off.
Jack
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