Entre les murs

Whether you respond positively or negatively to The Class, it's hard to argue that it is authentic to a very great degree. This isn't some Hollywood pablum starring Sam Jackson or Hilary Swank or even Dangerous Minds. This is taken- and starring- from the horse's mouth, a teacher who taught in the more multi-ethnic areas of Paris and via Cantet's direction, and it involved me like few films about the educational system ever have. No little drama involving the students, or rather crucial for that matter, lack any significance for the audience because from the moment we enter the classroom with Mr. Marin the camera keeps an eye on the details. Nothing is left out that might make anyone, teacher or the variety of student, look less than human. No one comes out at the end of The Class looking like they've reached the top of the world, and no one's a real hero or villain. At worst (and it's a sad but very true little moment), one kid says simply to Mr. Marin at the end of the last class that nothing was really retained from the past nine months.

After seeing The Class it brought back so many memories of school; like the 400 Blows the Class reminds us how absolutely rotten it is to be a 13 to 15 year old school-kid, but unlike Truffaut's film this is about an institution and its functions right in the heart of the matter. The teacher in The Class, real life teacher François Bégaudeau, casts such a convincing portrait because he doesn't have to really "act" or try to pretend he's a great teacher. He just is. He cares about all of his students deeply, but he's also firm when he needs to and knows, for the most part, how to reach them without going too far or coddling. It's a fine line he needs to walk since the class, made up of an ethnic melting pot as the saying goes, is smart and intelligent, and at its best we see this class participating and really in the grip of stirring conversation, even when it's about something that Mr. Marin has to handle with tact like when a student asks bluntly if he's homosexual, or when he has to deal with a young black girl who is slagging in participating in class.

It's the kind of naturalistic film-making that works because it's a synergy of the personal, of what is very well known and felt and learned about this world, and how to observe it. Some might say it's a "talking heads" movie with a pretty basic style, but the direction is wise by never getting in the way. Seeing these kids faces, and seeing the dynamic of conversations go on behind the closed doors of the faculty (some of these conversations, sometimes heated or just intense, are amazing not because of conventional dramatic power of one-side-versus-another but because of the thought put into these people, how tough decisions have to be made under certain circumstances).

It's strongest as a character piece, but also as a minor revelation into the bittersweet lot of teaching in an area like the 3/4 in Paris. There's a student who is troublesome, doesn't do work, is disruptive, but Marin wants to try and reach him. Another complication occurs due to a blow-up against a couple of chatty girls who were the "class reps" at a faculty meeting, and it sets a small chain of events that emphasizes chiefly how untenable the situation is and at the same time why it shouldn't be. This most major chunk of the film, about the student's possible expulsion, is one thing that makes The Class become even more absorbing than before, but it should be pointed out that from scene to scene nothing is left to chance. The cinema verite approach makes things move emotionally but unsentimentally; nothing is left for us to see these characters as what they are, which makes it so rewarding and heartbreaking when "things" happen as they do in movies. At one point something seemingly minor is revealed- a Chinese student, learning French little by little, may lose her mother to deportation. Not minor, it's all apart of another school day. A+

François Bégaudeau plays the lead--a teacher who is in charge of a class of intercity kids. Some seem to want to learn, but the class discipline is so lacking that you wonder how any of them can learn--and, as you watch, this is probably true.

"The Class" was an interesting film but also quite a frustrating one for me to watch, as I never was sure of the exact purpose of the film. I am a retired teacher, so hold on tight.... While I found myself interested in what was happening in the class, I also felt that this was a case of a teacher with good intentions who was, at times, absolutely clueless. And, sadly, he seemed to be one of the only teachers in the school who cared about the kids. Talk about a recipe for hopelessness and failure. It was interesting that the same failed methods and discipline were going on here in "The Class" as I sometimes saw in the States--and some burnt out or well-meaning but poorly trained teachers. I saw the film as a GREAT movie to show teachers so that they could see where the school in the film was failing the kids and learn from their mistakes.

A few of the lousy techniques I noticed from the teacher in this one: Letting his class continually disrupt the lessons on irrelevant things. Instead of ignoring or redirecting, he let them disrupt and chaos often resulted.

Letting disruptive groups of kids sit together.

Engaging in arguments.

A few I noticed from the rest of the staff included: One old-timer teacher telling a new teacher which kids were GOOD and which were BAD--setting the kids up to meet these expectations.

A very punitive system. One teacher even argued that positive reinforcement ONLY should come in the distant future--when kids look back at their achievements. Punishment was all that seemed to matter and it's no wonder the kids were misbehaving.

Allowing student reps to sit in on disciplinary meetings and hear confidential information about other students. As you could see in the film, this was a very, very, very bad idea.

Providing no interpreter for the Malian parent. While she said she understood what was occurring, it seemed pretty obvious she didn't.

By the way, I did NOT understand the ending. It seemed magical--as if removing the one very disruptive kid suddenly made the other disruptive kids become angels. This seemed very simplistic. In fact, I really didn't understand the purpose of the film--unless it was to say pretty much all the teachers in the film were missing the mark. All in all, a pretty hopeless look at teaching but the film was interesting, that's for sure.

Greetings again from the darkness. Not a film in the traditional sense and not a documentary by true definition, it mixes the two into an absorbing, addictive 128 minutes.

Over the years, I have often questioned the educational system and why both teachers and students are so frustrated. Here we get an inside look at both sides and it still leaves me wondering "why?". Why do otherwise intelligent people commit to becoming teachers? Why do we insist on teaching formats that are miserable for both teacher and student? Why do so many parents blame the school and so few take an active, supportive role? This is the story of Francois Begaudeau, who also wrote the book upon which director Laurent Cantet's film is based.

Begaudeau is a junior high teacher in a working class, multi-ethnic Paris school where the teachers have resigned themselves to the fact that most of the students just don't care to learn. We get an incredible amount of classroom time showing how the melting pot of cultures has so much to offer, yet seems impossible to tap into.

Also fascinating are the teacher meetings and discussions that occur away from the students. We see no joy in these teachers and most seem just beaten down. The film offers no solutions, it strictly acts as a peek inside the institution.

While we are left to our own accord to pick sides or dream of alternatives, I continue to ask the same "why" questions over and over.

At the 2008 Cannes Film Festival, two movies were able to give viewers a vivid glimpse of the very real social context they dealt with. One was the Italian crime drama Gomorra, based on a non-fiction bestseller about the Camorra's dealings. The other, which received the coveted Palme d'Or (although Gomorra is a tad more riveting), is Laurent Cantet's The Class (the original French title translates as Between the Walls), which some described as the new Dead Poets Society for obvious reasons. The comparison is legitimate but a bit weak, mostly because The Class focuses less on the Greeek tragedy structure typical of school-set dramas. Instead, it gives an incredibly accurate idea of what really goes on in an average school class.

Cantet's film is based on the eponymous book by François Bégaudeau, a former teacher who decided to inaugurate his writing career with a memoir of sorts recounting his experiences in a middle school in a Parisian suburb. Not surprisingly, when word of a cinematic adaptation came out, Bégaudeau wanted to be involved, contributing to the screenplay and taking on the lead role, virtually playing himself.

Well, not really: there's a degree of fiction in his character, at least in the fact that his last name is Marin. Everything else is spot-on, though: he gets along with his colleagues, has an intelligent teaching plan and is generally considered a good French teacher. Still, that doesn't mean there aren't problems in the class, especially when most of the 13-year old kids in there are foreign (Moroccan, Chinese, etc.). Situations range from a new student struggling to fit in to troublemakers refusing to pay attention, and it looks like some of them might not make it to the end of the academic year.

The magic of The Class is of course that it doesn't feel like a movie, but like something real, tangible - a slice of life, if you may. This is because Cantet prepared the film by selecting thousands of real students for the various parts and then going through a year-long improvisation exercise with those who made it to the final cut. In this case, though, "improvised" doesn't equal loads of swearing like in Judd Apatow's body of work (even if some of the lingo used by the kids is on the stronger side), but things people say and think when they're going through that delicate period of their life. There isn't really a point in talking about performances, save for the adults, who are nonetheless teachers in real life. These people, particularly the young ones, aren't acting, they're living. And that is a beautiful thing to behold.

It is said that movies and life do occasionally merge. Few examples are closer to the truth than The Class: it's not a biopic, it's not a documentary. It's a lesson.

I really enjoyed this film; however, I will disclose I thought about 10 minutes could be shaved off as a whole. The documentary style feel to the film aided not only the intimacy of looking into the classroom, but also into the lives of the students and teachers. It was refreshing to see "the human" side of a teacher portrayed--one that is fallible, not always saying the right thing despite trying to do the right thing...which is often what all people struggle with. Also, I liked that the film focused primarily on the episodes within the school rather than drifting into a melodramatic cliché of teenage angst or stereotypical conflicts. The Class is a nice balance of glimpsing into the world of teachers and their students.