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A forgotten relic from the early '70s, when shows like "Little House on the Prairie" and "The Waltons" all reflected our yearning for a so-called simpler, less complicated era. This adaptation, while not entirely faithful to the book, captures its essential themes and spirit rather well. There are some technical problems (the lighting always seem to be half in shadow, whether it's night or day!) and its kiddie-friendly tone seems at odds during the Grangerfords/Shepherdsons sequence, wherein we see men being shot and killed right on camera--and it's handled rather lightly. Parents should also be warned that this adaptation does have some strong language--it has not been sanitized, notwithstanding its G rating.

In addition, the musical format sits much more uneasily with this movie than with the superior "Tom Sawyer" (from the year before, with many of the same cast members and production staff). However, as oddly as some numbers come off, others are wonderful, such as the clever, dixie-ish "Cairo, Illinois," a duet between Huck and Jim that kicks off their great journey together. The jaunty title song and the lovely anthem "Freedom" also showcase the movie and its themes beautifully--especially during "Freedom"'s reprise, as Huck, the boy/man run away, gazes after Jim making his way downriver. Performances are generally strong--Jeff East could've been a better singer but his performance is so sincere and authentic, you hardly notice. Likewise his bond with Jim (well-portrayed by the late Paul Winfield) comes through nicely, most especially in their final, very moving scene together. Harvey Korman and David Wayne also deliver terrific turns as the King and the Duke, respectively.

Cinematography is *gorgeous*--the DP took full advantage of the location shoot, with some beautiful silhouette shots. Although its prequel is far better (you simply cannot top "Tom Sawyer"'s terrific score and thoroughbred cast), Mark Twain's quintessential Great American novel is reasonably well-served here, if not transcendently.

School Daze is billed as a musical comedy but is better described as a comedy-drama with musical numbers as commentary--the only non-diegetic number is "Good and Bad Hair," Lee's all-girl fantasy homage to West Side Story that addresses colorism between the "paper bag-light" sorority Gamma Rays and the darker activist girls. Ebert wrote that this was the first movie he'd seen in a while where the black characters relate to each other instead of a hypothetical white audience--it is this that gives the movie its engrossing authenticity. (If it matters, I'm white.)

As funny as the movie can be, it's also incredibly hard-hitting--there's a sequence in the last 20 minutes where Julian, "Big Brother Al-migh-tee," insists his girlfriend "prove" her love, that's almost unwatchable and yet brutally honest. Lee has been called sexist for his underwritten female characters--there may be some truth to that but School Daze is far more critical of the men than the women. Rachel, Dap's girlfriend, is perhaps the most levelheaded, likable character in the movie, and is strong and supportive of Dap while still maintaining her independence. Even the Gamma Rays, who come off as shallow and colorist in the beginning, are sympathetic as they stand up for and try to aid the pledges during hazing. The characters who come off the worst are the GPG brothers who are, almost to a man, brutish, sadistic and crude. Julian in particular is unredeemable--clever, manipulative and almost sociopathic in his treatment of Jane. Lee supposedly based the movie on his observations at Morehouse and the movie stands as a scathing indictment against the black fraternity system and its abuse of the women's auxiliaries (aka "Little Sisters").

The movie has structural weaknesses (the ending is problematic and seems to come out of nowhere although it fits thematically) but its biggest problem is Lee's flat performance as Half-Pint (and, frankly, he looks a little too old for it). I love Lee's movies but his early tendency to cast himself in major roles was a real weakness--he's just not a good enough actor and his performance always jerks me out of the story. The rest of the cast is fantastic, though, especially Tisha Campbell as Jane and Giancarlo Esposito as Julian. Notice must also be given to Bill Lee's wonderful score. Ultimately it's a movie whose heart and imagination overcome its flaws.