Racism – Watch List Reviews

Director: Tony Kaye Rated: R Runtime: 1 hr 58 min Studio: New Line Cinema Screenplay: David McKenna Cast: Edward Norton, Edward Furlong, Ethan Suplee, Avery Brooks, Stacy Keach, Elliot Gould, Fairuza Balk

There are only a handful of reasons a film holds up over time, let alone can be labeled as excellent or a masterpiece of cinema. American History X holds up because of the topic, but is that a good thing? The parallels between this film, fictionalized as it is, since the 1990s and now are disturbing. This film centers around the four R’s: rhetoric, rage, racism, and a form of redemption.

American History X’s story revolves around reformed neo-Nazi skinhead Derek’s (Norton) goal to keep his younger brother Danny from following in his lifestyle footsteps after release from prison. The timeline and events leading up to Derek’s incarceration (for three years) are shot in black and white, while the timeline and events following his release from prison are in color. This lends a sense of gritty gravitas to the storyline; cinematically, it works. The story flows well despite some underdeveloped sections. For only Edward Norton’s second major role, this film is still one of the top five of his work to date. For me, it really is one of the best performances of his career.

It’s not just Norton; the entire cast performs well, considering their characters are horrible examples of humanity. Derek’s hate and buried humanity are balanced by Dr. Sweeny’s (Brooks) goals to mentor those everyone else would wash their hands of.

Edward Norton in ‘American History X’ Image Credit: New Line Cinema via Vice.com

This film is dark and violent, too much for some or a-typical for Americans, but it’s rooted in factuality, making films like this difficult to watch. At its core, American History X (tries to effectively) represents hate, rage, ignorance, and (part) of what fuels it. More than that, how it’s possible to move beyond the twists in information, hate, and ignorance. Something that’s not often depicted well in films. Movies like this can act as mirrors to how we see other groups or ourselves as we are in the world, making us ask questions that might not otherwise occur. I think those are some of the best examples of great cinema.

American History X isn’t great, though; it’s a very good film, but not great. That’s because of the underdeveloped areas within the story. Derek’s time in prison is rushed and could have been better fleshed out to make us feel the shift in his personality. There’s a scene where everyone is at dinner, and Derek’s father is talking. You can see where the notions of racism might have taken root for Derek and Danny, but it’s so weak compared to Norton’s lines in the scene that it comes across as undercooked filler. Those are a few non-spoiler examples that could have done more for a film with so many turbulent themes taking place simultaneously. At just under a two-hour runtime, it could have been a little longer and done more for the main character’s arcs, but it’s not bad for what’s packed in there.

Edward Furlong as Danny in ‘American History X’ Image Credit: New Line Cinema

American History X is intense, captivating, psychological, and savage. It deserves its R rating and is best viewed by those over sixteen due to the content. It may end up being a film you only watch once in your life, but at some point, it belongs on your watchlist.

-A Pen Lady

Blue Bayou (2021) Directed by: Justin Chon Rated: R Runtime: 1h 52m

Studio: Focus Features Screenwriter: Justin Chon Cast: Alica Vikander, Justin Chon, Mark O’Brien, Sydney Kowalske, Emory Cohen

Blue Bayou is a poignant film about love, family, and the ties that bind; in an unjust society full of bigots and legal loopholes.

Antonio LeBlanc (Chon) was adopted as a toddler from Korea by a family from a small Louisiana town. Who gave him up after six months—left to be raised by the foster care system for the rest of his youth. After a lifetime of small-minded people, he meets Kathy (Vikander), the love of his life. He marries her, helping raise her daughter, Jessie (Kowalske). They’re his whole world.

In Blue Bayou, Antonio struggles to make ends meet, like so many people with or without baggage. Yet Antonio’s obstacles are things he can’t check at the door or put in a closet. He’s a convicted criminal-worse in Louisiana; he’s Asain. Constantly asked, “where you from?” despite a thick Cajun accent. It’s the smallest example of racism his character endures. He’s always the outsider with no nuclear family growing up and nothing of pride to hold on to of his Korean heritage.

Alicia Vikander, Sydney Kowalske, Justin Chon in ‘Blue Bayou’ Image: Focus Features via Vanityfair.com

Small-minded bigotry is as common as breathing in the deep South of America, and prejudice and authority make a terrible combo. It is this mindset that sets off the plot and story.

A run-in with Ace (O’ Brien), Jessie’s father, and his police partner (Cohen) at a store ends in Antonio’s arrest and subsequent detainment by ICE (Immigration and Customs Enforcement). The legality of Antonio’s adoption from Korea is called into question and sets the wheels in motion for his deportation.

Chon’s set locations, the lush, quiet bayou hideaway, and sunsets over the water juxtapose Antonio’s reality. That’s what this film is at its core, emotional resonance. The shared body language between Antonio and Kathy, or his honesty and bonding efforts with Jessie, all speak to the little moments we all have. For better or worse, those real human moments are layered with abuse and ridicule bubbling near the surface for Antonio, constantly. And now, through legal loopholes, he could lose it all-the only places he’s ever called home, through no fault of his own.

Sydney Kowalske as Jessie in ‘Blue Bayou.’ Image: Focus Features via IMDb.com

Illegal immigration/entry into the United States is a very polarizing topic. Still, Chon has honed in on this overlooked slice of the issue. Despite anyone’s thoughts on immigration into America, one burning question is this: why are all adopted children from other countries not automatically citizens? The truth is illuminating.

Blue Bayou is a realistic, raw look into a topic and people’s reality on the subject of international adoption, racism, and the strength of the vows “for better or for worse.” If ever an indie film deserved a place on a watchlist, this one does.

-A Pen Lady

Tag: Racism

American History X (1998)

Blue Bayou (2021)