***Out In The Be-Bop Rock 1950s Schoolboy Night- School’s Out, Man-"Blackboard Jungle"- A Film Review
A YouTube film clip of Bill Haley and The Comets performing Rock Around The Clock, a song feature in the film under review, Blackboard Jungle, and the first time that be-bop rock served as the soundtrack for a film. Whee!
DVD Review
Blackboard Jungle, starring Glenn Ford, Anne Francis, Vince Morrow, Sidney Portier, 1955
Film noir as a genre came in all shapes and sizes, mainly the best being the crime noir saga. Occasionally though other subjects received royal treatment, as here on the troubling rise of juvenile delinquency in the cities (and maybe elsewhere too) of America in the film under review, Blackboard Jungle. Although a re-viewing of this classic noir reveals some pretty ham-handed notions about the subject of JDs and about schools it still has some “socially redeeming qualities." For one, as the vehicle that connected film with the emerging be-bop rock sound being heard on the AM radio in the early 1950s, at least as heard in some places, through the use of Billy Halley and the Comets’ smash hit of 1955, Rock Around The Clock. Beyond that some of the performances, especially that of Sidney Portier, as a young alienated, “talented tenth” black student who could go either way, fame or crime, also sticks out.
The plot of this thing though even for its red scare- moral uplift-we-had better-get-a-handle-on-these-troubled-youth-or-the-Russkies-will-beat us time seems well, corny. Corny because the characters from Glenn Ford’s worldly-wise but idealistic and frustrated young teacher to the white (represented by Vince Morrow), black (Portier), Spanish and other city ethnic group students are wooden when I compare them to my own similar working-poor neighborhood (minus the blacks) of the time. In short, youth here are merely misunderstood and with the right formula (some version of tough love and a peek at Ozzie and Harriet) they will, except those few rotten apples who we will put in stir for good, change their ways.
A little plot summary will give you an idea of what I mean. Ford, hires on in a deeply troubled urban (New York but could have been a lot of places, including on a smaller scale my hometown, North Adamsville) school beset by racial, ethnic, class and social tensions. He is just idealistic enough, like many before and after him, to try to make a difference despite the heavy odds against him. Of course the first rule of teaching, thugs or princes, is who rules the classroom. For much of the film that is an open question as he seeks allies among the motley crew of students, especially Portier. Of course not everybody makes it, student or teacher alike. The be-bop jazz-loving nerdish math teacher (played by Richard Kiley) and the Irish gang leader thug (played by Vince Morrow)to name two. But in the end the key figures have an epiphany and the uphill education struggle goes on.
Moral uplift and due regard for the efforts of generations of teachers trying to make a different aside you can see where the holes in the plot shine through. The hard reality is that, like at my school, the thugs were weeded out long before high school, or they ran the show, mostly the former.
This brings to mind a character from my working- class streets, "Stewball" Stu (we never called him that to his face because we would have been shivved but that is what we called him among our younger set because the guy was a heavy, heavy whiskey drinker, day and night, walking or driving). Stu dropped out, or rather was kicked out of school, in the ninth grade, I think. But he had a “boss” ’57 Chevy when they were the rage, about ten million girls around him (and no “dogs” either) and all kind of criminal enterprises running. The reason that he got kicked out of school? Oh yeah, he threw a teacher, and not a small one out the window, fortunately it was only from the first floor. And they never did squat about it. So see that moral uplift stuff is good for the 1950s movies but just yawn stuff in the real world. Oh yeah too, Stu's luck ran out later, like sometimes happens but in the 1950s he was the be-bop max daddy king of the jungle. And no blackboard jungle either. Later, fortunately, more realistic troubled youth films were made, like the film adaptations of S.E. Hinton’s works, and made without the heavy-handed cautionary tale.
A YouTube film clip of Bill Haley and The Comets performing Rock Around The Clock, a song feature in the film under review, Blackboard Jungle, and the first time that be-bop rock served as the soundtrack for a film. Whee!
DVD Review
Blackboard Jungle, starring Glenn Ford, Anne Francis, Vince Morrow, Sidney Portier, 1955
Film noir as a genre came in all shapes and sizes, mainly the best being the crime noir saga. Occasionally though other subjects received royal treatment, as here on the troubling rise of juvenile delinquency in the cities (and maybe elsewhere too) of America in the film under review, Blackboard Jungle. Although a re-viewing of this classic noir reveals some pretty ham-handed notions about the subject of JDs and about schools it still has some “socially redeeming qualities." For one, as the vehicle that connected film with the emerging be-bop rock sound being heard on the AM radio in the early 1950s, at least as heard in some places, through the use of Billy Halley and the Comets’ smash hit of 1955, Rock Around The Clock. Beyond that some of the performances, especially that of Sidney Portier, as a young alienated, “talented tenth” black student who could go either way, fame or crime, also sticks out.
The plot of this thing though even for its red scare- moral uplift-we-had better-get-a-handle-on-these-troubled-youth-or-the-Russkies-will-beat us time seems well, corny. Corny because the characters from Glenn Ford’s worldly-wise but idealistic and frustrated young teacher to the white (represented by Vince Morrow), black (Portier), Spanish and other city ethnic group students are wooden when I compare them to my own similar working-poor neighborhood (minus the blacks) of the time. In short, youth here are merely misunderstood and with the right formula (some version of tough love and a peek at Ozzie and Harriet) they will, except those few rotten apples who we will put in stir for good, change their ways.
A little plot summary will give you an idea of what I mean. Ford, hires on in a deeply troubled urban (New York but could have been a lot of places, including on a smaller scale my hometown, North Adamsville) school beset by racial, ethnic, class and social tensions. He is just idealistic enough, like many before and after him, to try to make a difference despite the heavy odds against him. Of course the first rule of teaching, thugs or princes, is who rules the classroom. For much of the film that is an open question as he seeks allies among the motley crew of students, especially Portier. Of course not everybody makes it, student or teacher alike. The be-bop jazz-loving nerdish math teacher (played by Richard Kiley) and the Irish gang leader thug (played by Vince Morrow)to name two. But in the end the key figures have an epiphany and the uphill education struggle goes on.
Moral uplift and due regard for the efforts of generations of teachers trying to make a different aside you can see where the holes in the plot shine through. The hard reality is that, like at my school, the thugs were weeded out long before high school, or they ran the show, mostly the former.
This brings to mind a character from my working- class streets, "Stewball" Stu (we never called him that to his face because we would have been shivved but that is what we called him among our younger set because the guy was a heavy, heavy whiskey drinker, day and night, walking or driving). Stu dropped out, or rather was kicked out of school, in the ninth grade, I think. But he had a “boss” ’57 Chevy when they were the rage, about ten million girls around him (and no “dogs” either) and all kind of criminal enterprises running. The reason that he got kicked out of school? Oh yeah, he threw a teacher, and not a small one out the window, fortunately it was only from the first floor. And they never did squat about it. So see that moral uplift stuff is good for the 1950s movies but just yawn stuff in the real world. Oh yeah too, Stu's luck ran out later, like sometimes happens but in the 1950s he was the be-bop max daddy king of the jungle. And no blackboard jungle either. Later, fortunately, more realistic troubled youth films were made, like the film adaptations of S.E. Hinton’s works, and made without the heavy-handed cautionary tale.
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