Detachment :: SimplyScripts Screenwriting Discussion Board

Detachment is an upcoming 2012 classroom drama featuring Adrian Brody as Henry Barthes, a troubled substitute teacher at an inner city high school with a gift for connecting with his students which he represses by the nature of his chosen profession. Though the plot revolves mainly around Brody's character, the film also serves as a commentary on the contemporary US education system in general, especially regarding inner city schools. A wide range of big name actors feature throughout such as James Caan, Lucy Liu, Blythe Danner, Christina Hendricks and a brief appearance by Bryan Cranston. Also worth noting is the feature premiere for actress Sami Gayle as Erica, an abused orphaned prostitute whom Brody takes in.

How did I see it? OnDemand. Yay!

So... I can't imagine the plot holds much interest for those uninterested in melodramas or tear jerkers with warm, cuddly lessons at the end. Detachment is both. Personally, this is not the kind of material that draws me in, especially when this genre boasts such saccharine offerings as Coach Cater And I'll admit, the trailer probably wouldn't have done much for me if it weren't for one particular element...

The director. Tony Kaye. The man behind the legendary American History X.

Tony Kaye has lead a hard path as a director following his 1998 film. After Edward Norton stepped in to take over the film's ultimate theatrical edit, Tony Kaye bad mouthed the actor and his studio associates for their invasive actions in numerous tabloids and thus forfeited his right to an Alan Smithee credit for American History X. When the DGA rejected his request to be credited as Humpty Dumpty, Kaye sued them for $200 million and thus secured his more or less unsavory reputation in Hollywood.

Detachment is Kaye's first film with big name actors to receive a theatrical release and any significant media buzz since American History X, which I know many of you regard with considerable esteem.

And as shocked as I am to say this, Detachment is just as hard hitting and emotionally charged as American History X. Possibly more. It's different. But film buffs anticipating as visceral a gut punch as the 1998 film should not be disappointed.

A major theme in Detachment is pain. Pain felt universally by people of all backgrounds. And in that regard, Kaye approaches the concept of pain with absolutely no holds barred, tackling such hard topics as death, suicide, depression, old age, low self esteem, poor body image, foster care, prostitution, STDs, and even animal cruelty. At times, the darkness reaches Lars von Trier/Todd Solondz depths of misery. The film is utterly committed to the dark underbelly of public education and doesn't shy away from any harsh realities nor the convoluted pool of culprits. Students, parents, teachers, government, culture, etc. Everyone is put on trial.

But unlike the aforementioned auteurs, there is no humor, satire or snarkiness to be found in Kaye's vision and the emphasis on politics and cultural influence seems to imply that the man really cares for the issues explored in the film and the emphasis on contemporary issues e.g. No Child Left Behind suggests that he wants you to think about these thing in terms of the world you live in. There is a big heart to this film and no matter how dark or over the top it gets, there's an emphasis on hope and the merit of caring and ambition that can't be shrugged off.

That's not to say the film isn't rough around the edges. There's elements that get so extreme, they can feel melodramatic, exploitative or overused for political agendas. I felt a lot of the same emotions I had watching Precious where some elements are so overwhelming, you can't help but question their validity. But like Precious, I felt Kaye had his heart in the right place at all times. And there are moments when the film does get genuinely melodramatic. Earlier on, especially, some of Brody's dialogue feels too much like it's spouting lessons with each response to aggressive characters. There's also the occasionally excessive demonizing of teenagers and parents. But most of the time, Brody's character, and by proxy, the film, is correct in the things it points out. Yet at no point does the film offer easy answers to any issues.

Stylistically, I found Detachment to be an extremely experimental film. There is a narrative that's easy to pick up that has its own distinctive arc and catharsis so traditionalists shouldn't have too much to call the film out on. At the same, the film occasionally breaks into an episodic nature with incidents that focus solely on secondary characters and take a break from Brody's struggles. There's an interesting use of narration/V.O. At times, it feels documentary-like. At others, it has a more artistic/spoken word feel. There's also a lot of animation in the film done in a stop-motion style using allegorical chalkboard drawings. And, of course, rampant symbolism is to be found throughout. Much to be noted in this film from an aesthetic standpoint.

Now... I really have to say that no matter how this review is interpreted, I feel like it's an understated critique and could only be so, at least coming from me. I haven't been hit this hard by a film since I saw Requiem for a Dream in high school. The ugliness of this film, I imagine, will catch many of its fans off guard, as it did me. But they will be effected by it. Likewise, I feel like many people will hate it and find it completely cartoonish, exploitative and melodramatic, even if they recognize Kaye's intentions for it.

For my part, I loved the film. It took me to so many places I didn't want to go but did so with a sense of purpose and altruism that I seldom find in the, shall we say, more miserable films I check out.

Highly, highly recommended. Whether you love it or hate it, I think Detachment is worth checking out, at the very least for the mainstream return of the man who helmed the undisputedly harrowing classic piece of cinema that is American History X.

Here's the trailer...