Revolução Estudantil

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.

There are things I liked about "School Daze." In particular, there was the scene near the end of the film between Giancarlo Esposito's Julian and his girlfriend. It's when he breaks up with her for sleeping with another student, all the while completely aware that he made her do it. I've actually seen guys do this -- trick their girlfriends into doing something that, later on, they can use as cause to dump them -- and the reality of the scene carried such a raw, emotional weight that it nearly derailed the rest of the film.

"School Daze" is, first and foremost, a period piece of 1980s pop culture. Many of the sequences, especially the ones requiring dancing and choreography, are hopelessly dated, like early break-dancing videos.

Dated is okay, as long as there are other elements to counterbalance its datedness. Example: "All That Jazz" is a relic of Bob Fosse's toxic, overindulgent mind, a '70s time capsule item. However, the untouchable authority and supreme confidence he brought to it, along with the visual beauty, and the letter-perfect performances, made up for any drawbacks, and then some. "...Jazz" went from silly to sublime inside of sixty seconds.

Lee's direction is alarmingly hesitant and amateurish, giving no hint of the originality, vitality, and sheer genius he would display in his later films. It's certainly difficult to believe he made this film between "She's Gotta Have It" and "Do the Right Thing." His editing is sloppy, his staging is slapdash, and the performances from his actors and actresses range from sleepy to histrionic. The stories lose their punch through careless juggling, and the illogical "Wake Up!" scene at the end is unearned and unwarranted. Most disappointing of all, the thing I value his films for most -- his constant pushing of the cinematic envelope in all sorts of unexpected ways -- is all but totally absent.

I love most of Lee's films. I'll go so far as to say that he's one of the last risk-takers left in the business (Stanley Kubrick is dead, Quentin Tarantino is MIA, and anything done by Spielberg, God love him, automatically becomes non-risk). His "Do the Right Thing" is as good as any other film released in the '80s. The best thing I can say about this one is: I'm glad he got it out of his system.

So what if you went to Harvard and not Hampton, this film is still well-shot, well-acted and damn funny. If you can't understand the light vs. dark, town vs. gown, Greeks vs. GDI conflicts, maybe you don't... under... stand... English... well. I never saw the movie in its entirety until I was about 20 (and pledging at an HBCU, but that's another story) but it just got better as I got older. This movie is like many of Spike's: it's for a group of people (Black ones) that rarely get to tell their own stories. If other people get it, super. On a sidenote, what's so "universal" about Dirty Dancing? I've never had to drop out of a contest because of my botched abortion that Lenny from Law & Order had to come help me out with. I've also never been a small, Jewish man in New York City, but people seem to find Woody Allen's movies "universal" enough. Why don't these issues come up with movies made by whi... (ahem) other filmmakers?

This is my favorite movie of all time. I have seen it at least 300 times. I saw it the first time about a year after it came out. I was about ten years old and I was mesmerized. I really loved all the singing and dancing. But when I got older, thats when I got the message of movie. Thats what makes this movie such as classic. The only thing I don't like about it is that I read the book about the making of School Daze and Spike cut out so many scenes that would have been good for the movie. It would have made some of the scenes easier to understand. I wished he would've put them on the DVD. But still, one of the greatest black films of all time.

I had not seen Spike Lee's School Daze in 13 years, the first weekend of its release. This movie has a very special meaning to African Americans like me who were college students in the 80s. The school setting acts as a microcosm of black life as a whole. The social issues it tackles are all too familiar to black life: light skin vs. dark skin, college kids vs. the surrounding economically disadvantage community, and the social responsibility of African Americans to Africans across the entire black diaspora among others.

Watching it in 1988 I thought the dance sequences were too long, but in 2001 I now see their worth. The DVD is visually beautiful, while being gritty in spots where it should thanks to the beautiful work of the great Ernest Dickerson. This was a huge leap for Spike as a director, coming from a $175,000 budget for She's Got To Have It to School Daze.

This film does a great job of giving us some of the inner workings of Black Greek letter organizations. It also shows what abuse people will go through to belong. I was actually living School Daze when I saw it in 1988, so I come from that perspective. It was thrilling to figuratively see myself on that screen in 1988.

If you are looking for Academy Award winning performances, then this isn't the film for you, although there are some really fine actors in the film. If you haven't ever lived this existence, it is really hard to appreciate School Daze. I have a great appreciation for Spike, the era, and the story Spike has written and brought to the screen.

Most folks don't get the ending "Wake Up" scene, but it absolutely belongs. The entire movie and most of Spike's works are wake up calls to America, but specifically to the black community.