Half Nelson

Ryan Gosling made happen what happens only once every so often. Made me look at what I seen before under a new magnifying light. He took me with him and showed me, with the most astonishing clarity, the complexity of a talented man dragged down by a legacy of good intentions and addiction. We're permitted to visit his family once and we understand what he's fighting with without any weapons. He doesn't blame anyone but he's the result of his own DNA and he knows it. His bright moments, the explanation of what History is for instance, is a glimpse into the man he could actually be, fully. The humanity that Ryan Gosling lends to his character on his darker moments it's as chillingly real as it is moving. The chemistry he establishes with the wonderful Shareeka Epps is as powerful as the one he established with me. I want to meet him, I want to meet Dan and while I was thinking that I realize I know him already. He lives next door to me, he's related to me, I was his friend. This is what superb performances do. They re-awake you.

Ryan Gosling is truly amazing in his film role deliveries. His breakthrough role in "The Believer" 2001 was explosively intense. He consistently gives integral reflective portrayals, even for a departure romantic role in director Nick Cassavetes' "The Notebook" 2004, he was absolutely convincing as Noah who loves Rachel McAdam's Allie to the core. Here in "Half Nelson," he appears to disappear into Dan Dunne, a high school teacher with an ideal and a crack addiction problem. That sure sounds contradictory in terms: a teacher being a role model, while drug addiction a totally unacceptable behavior. As Dunne wrote on the blackboard in the beginning: 'Dialectics,' the film "Half Nelson" is in itself dialectics demonstrated.

Gosling's Mr. Dunne the history 'teach' doubling also as basketball coach, meeting (a solid matching delivery from) Shareeka Epps' Drey, the 13-year old student who 'found' him and 'witnessed' his secret - theirs is a relationship, naturally portrayed, of two 'opposing' forces as dialectics as can be. I felt Drey is the primary force that 'helped' Dunne's secondary force to yield and together, they created a contradiction anew as life goes on.

I remember from a 1969 book, a quote that might describe the heart of "Half Nelson": "Contradictions are the source of all movement and of all life. All things are in themselves contradictory and it is this principle, more than any other, which expresses the essence of things."

In a way, contradictory yet similar: Dunne and Drey both are 'on their own' trying to hang on, to manage the conflicts in their life's journey. Do we need all the answers in life? Do we have to know why someone behave as he/she does or something happen as it did? Director Ryan Fleck and co-writer/editor/producer Anna Boden tried not to 'over-explain anything'. Sometimes the answer can simply be: "I don't know."

"Half Nelson" is an ambitious film. Besides 'comments' on educational system, single parent family strife, Dan's addiction predicament, the script also managed to include political viewpoints unobtrusively expressed through talking heads of single student reciting historical civil rights movement events. The 'R' rating does indicate some intimate scenes, clever inter-cuts juxtaposing what the two forces were each doing at the moment. Music (by "Broken-Social-Scene") is timely applied at certain segments but sparingly. Well-rounded supporting cast, especially Anthony Mackie as Frank the 'friendly' dealer who may want to do right by Drey but only in the way he knows how within the realms of selling drugs (reminds me of w-d Boaz Yakin's "Fresh" 1994, brilliant debut performance by Sean Nelson as the 12-year old interacting with a dealer 'mentor').

Kudos to all involved on "Half Nelson". The film was shot in Brooklyn, New York. Thanks to ThinkFilm for being the distributor (documentary: Spellbound; Murderball; March of the Penguins; drama: The Last Kiss - Italy; Kontroll - Hungary; Gus Van Sant's Gerry).

Dan (Ryan Gosling) is a drug-addicted high school history teacher. Drey (Shareeka Epps) is one of his students, who can see herself possibly following in her brother's footsteps and working for a local drug dealer. Dan and Drey strike up a friendship.

Dan is a smart, fundamentally decent man leading a life of quiet desperation. His ex-gf, Rachel (Tina Holmes), tells him that some people get better, and Dan is adamant in his response. Not him. Change is not for him. To another girl, he explains how he tried rehab, but it doesn't work for him. And yet Dan's desire for change is shown in his lessons to his students. He constantly describes opposites - up and down, left and right - and talks about change. From one breath to your next breath, change has happened. And yet Dan's affliction just provides more and more of the same.

The film is all about Ryan Gosling, who gives us a complete portrait of his character. You just can't take your eyes off of this guy. Whether babbling under the influence or talking with real passion to his students or just sitting quietly saying nothing at all, Gosling shows us a man, who has a lot to give, but is held down by his affliction. The out-of-nowhere flashes of humour and the many moments of vulnerability completely endear us to Dan. His friendship with Drey arouses moral instincts in him that brings his self-loathing and helplessness more to the surface. We understand Dan, and our understanding of him is mirrored in the eyes of all the supporting characters, played out by a perfect ensemble cast. So much is conveyed just in the briefest character exchanges.

So the film succeeds with strong performances and making sure all the pieces fit together with respect and care. And yet the finished puzzle isn't really as gripping as it should be. Maybe because we've been through this material before, or maybe because this is a film that lives through its many small moments and observations. With tense character-driven material like this, I was sort of expecting more flash and meltdown, but this isn't that sort of film. This is a film, where you can admire the focus, commitment, and quality, but its a slow burn - not a big jolt to the system.

Two knockout performances dominate this uncompromising and emotionally visceral indie. Directed and co-written by first-time feature director Ryan Fleck, this 2006 drama pulls no punches and offers no cheap sentiment in the story of two people intractably bonded by their mutually desultory existences - Dan Dunne, a crack-addicted Brooklyn middle school history teacher, and Drey, a 13-year old student in his class burdened by an overworked mother, a brother in prison, and an insinuating drug dealer named Frank. Fleck and co-writer Anna Boden establish Dan's gifts as a teacher almost immediately as the character engages his class with natural ease. It becomes clear that this is not going to be a fish-out-of-water story but a more complex study of a man caught between his passion for teaching and his hopeless need for the next fix.

Dan's self-defeating effort to separate the duality in his life is what provides the impetus of the plot, as there are no simple explanations offered for his drug-addled life until we catch a glimpse of his emotionally disconnected family later on. Much like what Vera Farmiga achieved in "Down to the Bone", Ryan Gosling dissects his character with textured precision and conviction. He honestly earns our attention and even our compassion despite the selfishness Dan displays at times. Matching Gosling all the way is novice Shareeka Epps, who plays Drey with almost unnerving steadiness. She affectingly conveys the self-protective insulation her character has against a world too ready to use her.

Together Gosling and Epps remarkably achieve an unexpected symbiosis that makes Dan's and Drey's ongoing struggles palpable. The supporting cast is uniformly strong with effective turns by Anthony Mackie, who shows surprising depth in what could have been a stock villain role as Frank, and by Karen Chilton etching the regret and exhaustion in Drey's mother in just a few brief scenes. Even though the film was done on a miniscule budget, it doesn't feel cheap with particularly strong work found in Andrij Parekh's intentionally bleached-out cinematography. The 2007 DVD offers a nice, unassuming commentary track by Fleck and Boden, but the rest of the extras are not very interesting - a gag reel, three understandably deleted scenes and four extended scenes that really don't add much more insight. However, the film itself is exceptional work.

Ryan Gosling delivers a performance in HALF NELSON that is a marvel to watch and to see the talent which this young man/actor brings to the film and screen. Every frame delivers the intensity and drama within this young teacher's life and the issues he handles with his addiction and how he strives to reach his students in the classroom through honesty, humor and the lessons of history delivered on screen.

Just watching Gosling in every frame is a triumph in what character development is all about, along with the brilliance of his performance. Gosling adds HALF NELSON to his outstanding work in the films THE UNITED STATES OF LELAND and the gorgeous NOTEBOOK.

Shareeka Epps as a young, struggling student, is a perfect foil to Gosling, and her intelligence and strength matches that of Gosling as they both deliver scenes that are memorable and tremendous. From the classroom to the basketball court, to the painful addiction scenes, Epps and Gosling make HALF NELSON come alive with anger, pain and the true pathos of life represented in America today.

With the final scene in the film, one can only hope that the characters may move from despair into lives which might give them a sense of hope, and finally a chance, as with the lessons of history, to move beyond their unhappy past into a brighter and more rewarding future.