Review
Culture
Education
6 min read

Back to school on the big screen

It’s back to school for many. Yaroslav Walker picks his favourite films capturing the friendship, the drama, and the expectation of school life and beyond.
School students walk across a playground confidently talking and laughing with us
The History Boys.
BBC Films.

The summer is coming to an end, the last BBQ embers are sputtering to sleep, the weather…appears not to have been told, at least in London! Sweltering! Most importantly of all, our children are back to school, nursery or college. In light of this momentous time of year here are my top five back to school film choices, one each for the last five decades, and some honourable mentions. 

1970s - American Grafitti 

A teenage couple dressed in 1950s clothes sit on a kerb in deep conversation.
Charles Martin Smith and Candy Clark in American Graffiti

American Graffiti isn’t just a lovely piece of nostalgia now, it was back then. A misty-eyed look back at 60s Americana, this film is packed with slicked-back hair, classic cars, diners with roller-skating waitresses, and the complexities of teenage romance. Four friends meet on the last day of summer to experience the joys of a California evening one last time before two of them jet off to college ‘back East’. Curt is unsure about his future and is even considering staying in his hometown. Steve is hubristically thrilled about the prospect of fleeing his humdrum life and even shedding his loving girlfriend for new conquests. Terry is insecure and simply desperate to prove he is as good as everyone else, and Milner is the older friend who never left town and is a local-legend drag-racer. Over the course of a long night they go their separate ways, have adventures, and finally find some closure to their ongoing anxieties: one finds new confidence, another begins to take risks, another learns to be happy with his lot, and Milner wins a drag race…oh, an learns the genuine happiness that can be found in adult responsibility. It's too long, but it is a lovely atmosphere to meander about in, and is edited superbly so it never really drags. With superb performances and a soundtrack bursting with 50s and 60s hits, this is well worth a watch. 

1980s - The Breakfast Club 

Five glum students perch on stools in school room.
Molly Ringwald, Emilio Estevez, Judd Nelson, Ally Sheedy, and Anthony Michael Hall in The Breakfast Club.

Well what else could it have been!? In many ways the film set the classic pattern of US High School living (which did and sometimes still does inform UK attitudes) and the High School movie. John Hughes didn’t invent these archetypes and wasn’t the first to put them on celluloid, but he was the master of crystallising them. The Breakfast Club presents an all-day detention that just so happens to have a representative from every social caste of the High School system: Andrew the jock (Emelio Esteves), Brian the nerd (Anthony Michael Hall), Allison the weirdo (Ally Sheedy), Claire the popular girl (Molly Ringwald), and Bender the burnout (Judd Nelson). These five kids have nothing in common but their dislike of the domineering Vice-Principal (Paul Gleason was born for this role!)…OR DO THEY!? Whereas American Graffiti explored the process of maturing into adulthood and the taking charge of one’s sense of self (with a background hum of Vietnam paranoia and the end of golden Americana days), The Breakfast Club is much more forthright in demonstrating just how difficult being a teenager is. These kids don’t need help ‘growing up’, if anything they need to be allowed to be kids. Over the course of the day their defences break down and they learn that each of them has expectations and pressures that seem overwhelming, and grown to have genuine respect and compassion for each other. A script that is sometimes on-the-nose and prone to soliloquy is saved by the sheer bravura of the performances. A go to comfort film, that will always be iconic. Any film which ends with Simple Minds is a 5 star affair for me. 

1990s - The Faculty 

Two students walk down a school corridor, one looking away.
Elijah Wood and Jordana Brewster in The Faculty.

We move to slightly scarier fare with the 90s. The Faculty asks the question you were all asking…what if Invasion of the Bodysnatchers took place in an American high school? The answer is subtext; a lot of subtext and allegory. You know, when you’re a teenager, everything can seem quite tough. The world can seem like it's against you. It can seem like everyone you know has changed overnight and you’re lost in a sea of hostile faces. It can seem like a parasitic alien is using your school as a beachhead for a planetary takeover. The Faculty is cinematic junk-food and unapologetically so. It is camp and silly and fun. It takes those Hughesian archetypes, puts them on steroids, and then throws them into a plot joyfully riffing on the most classic sci-fi and horror tropes - all held nicely together with a quip-filled Kevin Williamson screenplay. An underrated Robert Rodriguez directorial effort which shows that he can work well across genres, and an excellent opportunity to see early performances from Josh Hartnett, Elijah Wood, Jon Stewart, and…wait…is that Usher in that film!? 

2000s - The History Boys 

Yes, we move to British shores at last. Alan Bennett’s stage-play is brought to beautiful cinematic life by original director Nicholas Hytner, who has an excellent track record of translating Bennett’s work from stage to screen. It’s another flash of nostalgia (which all such films are, as adult writers and directors look back to their own school days and teenage angst and adventure) which transports the viewer to 1980s Sheffield. A group of friends at the local Grammar School have all done very well in their A Levels and are now put to the task of preparing for the Oxford entrance exams. All are lovers of History (well, maybe not Rudge) and have received an enviously eclectic education in the full gamut of culture from the eccentric and long-suffering Hector. Like all the films above, The History Boys explores the challenges of adolescence, but with a specific focus on ‘doing well’ in a particularly British way. Sporting excellence or popularity aren’t the measure of student success - Oxbridge is. The teachers don’t push the young men nearly as much as they do themselves, seeing a place at Oxford as the best form of advancement. The witty and moving script also touches on the issue of infatuation, attraction, sexual fluidity, and chaste reciprocity: Posner’s love for Dakin being encouraged only so far in some sort of mutually agreed stand-off, Dakin’s willingness to sleep with the substitute teacher Irwin, and (of course) Hector’s tradition of giving the boys a ride home on his motorcycle and…appreciating them aesthetically. Not easy subject matter, but written and directed and shot and performed with such sensitivity that you can’t help but fall in love with every character. 

2010s - The Inbetweeners Movie 

Two students look at each in in incomprehension.
Blake Harrison and Simon Bird in The Inbetweeners.

We end with crudity. Crudity and friendship and a booze-filled week in Crete. Lovers of the TV show (I was one) - which explored the trials and tribulations of four unpopular, unremarkable, and unfortunate teens at a British comprehensive school- were well served by this upgrade. TV comedies, like plays, rarely translate well; The Inbetweeners Movie is an honourable exception. Will, Simon, Jay, and Neil have come to the end of their school days and decide that they need one final hurrah before they go their separate ways. The proceeding 90 minutes is a torrent of drunken antics, foul-mouthed discourse, and crass toilet humour, all threaded together by hapless and fruitless sexual intrigue. 90 mins of that might seem like it would wear thin, but The Inbetweeners Movie is too kind-hearted to go stale (unlike its successor which was a genuinely squalid and unpleasant affair which had me questioning humanity). The four young men are so pathetic in the true sense of the word, that you can’t help but cheer for them. The overall message of friendship as a virtue that transcends the ups-and-downs of life give the salty humour a sweet edge. For a certain generation - mine - this might be the definitive British school movie.

Honourable Mentions

Grease 

Sort of like American Graffiti…but better. I’m talking Travolta, I’m talking Newton-John, I’m talking songs that are bullet-proof! Graffiti is on the official list because it speaks to the many cultural and political undercurrents of the time…but Grease is so much more fun. If you can only see one of the two, see Grease

Gregory’s Girl 

Pipped by Breakfast because of the archetypes and Simple Minds, but probably one of the finest British rom-coms ever! 

Mean Girls 

Obviously. It's so fetch! 

 

Interview
Culture
Education
Justice
S&U interviews
8 min read

How justice shaped a world of rights

Historian John Coffey talks about his contribution to a new book: Justice & Rights.

Nick is the senior editor of Seen & Unseen.

A statue of a woman holding a spear in one hand a lightening bolt in the others that reads: 'Droits de  l'homme'.
A French statute celebrating Human Rights.
DDP on Unsplash.

In our networked world old problems, and new ideas to solve them, flash across our minds and screens. It can be a hectic and dis-orientating feeling that occurs when we try to make sense of it all. Whether it's the global order changing or yet another injustice occurring. 

Seeking insights on all this means crossing boundaries, and that’s what over 160 scholars do by sharing with each other. The members of the Global Faculty Initiative (GFI), drawn from all faculties usual in great universities, integrate faith and scholarship through dialogues. They examine the themes of justice, order, flourishing and beauty - mixing subject matter expertise in everything from physics to public policy. 

The GFI has just published the results of one such dialogue in a book Justice and Rights. Among the contributors is Professor John Coffey. His work explores the history of religion and the big ideas like justice and rights. Recently he talked with GFI coordinator Bethan Willis, on its Justice podcast series. Here’s an extract of the discussion that looks at the ‘genealogy of rights.’    

 

Bethan Willis  So, shifting focus now to the question of rights, particularly. So, you talk in your Brief about the genealogy of rights, and in his Theology Brief, Nicholas Wolterstorff makes a case for placing rights at the centre of our understanding of justice, but that's obviously not an uncontested move. And some people would see a focus on rights as problematic, and part of the debate about the legitimacy or the value of rights can sometimes centre around the question of where rights actually come from. So which period in history, which philosophy and vision of human life and justice gives rise to this language. So can you tell us a little bit about that kind of trajectory that you've set out in your Brief , the different points at which people might identify rights as coming to the fore and why that happens and the various interests at play in these discussions of where rights come from?  

John Coffey   So it can be very confusing if you read the scholarship on this subject because if you listen to someone like Samuel Moyne, he will argue that the human rights revolution of the 1970s really invents human rights or maybe grudgingly the 1940s and the conservative statesmen who created the UN declaration of human rights in that period. Others, of course, would root it in the enlightenment. And I guess this is a classic answer. It's the enlightenment and the French Revolution with its Declaration of Rights of Man and Citizen, which is really at the heart of the story of rights. But then early modernists and medievalists pushback, they see natural rights language, the idea of individual subjective rights that one has simply on the basis of one's humanity. These are distinct from legal rights, but they're individual natural rights that they would see this concept emerging in the Middle Ages with canon lawyers and Juris and so on, and then being embraced by various 17th, 16th, 17th century groups up to Locke.  

And I think there are different things going on here. One, of course, is that there are turf wars between historians in different periods who want to draw attention to their period as being really seminal in various ways. People have talked about the revenge of the medievalists, the early modernists and the Renaissance specialists who made so much emphasis on this being a radical break from the dark mediaeval past that mediaevalists have always been keen to push back against that and to point to the mediaeval roots of a lot of modern concepts. But I think there's also more going on here. I think in some ways it's part of a bigger argument about political and to some extent economic liberalism as well, because rights language has been so important for liberals, whether they're talking about politics or talking about economics. So, you have an example of rival genealogies being used for political purposes, if you like, to both problematize and legitimize, right?  

BW  Your work is focused on the contributions that religious groups have made to politics and ideas. And you particularly reference the Levellers in the 17th century and the abolitionists at the turn of the 18th, 19th century. Can you tell us a bit about the contribution that Christians may have made to the development of rights and particularly to the rights of freedom of conscious thought and belief in particular?  

JC  Yeah, yeah. I think it's important to emphasize this because there's also been a long tradition of suspicion of rights language among Christians, especially in the wake of the Enlightenment and the French Revolution. I mean, this has obviously been true in the Catholic church in the 19th century where there was deep suspicion of liberalism and the individualism associated with it and rights language was regarded with a great deal of suspicion by many traditionalist Catholics. But it's also true in Protestant circles as well, among some high Anglicans. But you could see it in the Dutch Calvinist tradition, they founded an anti-revolutionary party after the French Revolution, which is very critical of the political language which emerges from that event. So, it's interesting to see how historians and intellectual historians in recent decades have recovered what you might call the theological origins of rights talk. And that's true of people like Brian Tierney writing about the mediaeval era and showing the kind of seminal influence of various mediaeval theorists of natural law, but also natural rights.  

And certainly, when you get to the period I'm most familiar with from the 17th century onwards, groups like the Levellers are not just talking about native rights or legal rights that they have as Freeborn Englishmen. They're also talking about universal natural human rights that individuals have on the basis of their humanity. And it's in that period in the 17th century that people begin really for the first time to talk about freedom of religion as a natural right. I mean, you don't see that in the Middle Ages. It's a development that emerges within particularly radical Protestantism in the 17th century. Though interestingly, it's also tied to the idea of duties. So because we have a duty to worship God according to our conscience, consciences must be left free and the individual must have a natural right to worship God according to their conscience, because otherwise they wouldn't be able to please God if they just follow the dictates of the state or the state church that they wouldn't be able to worship in a way that's pleasing to God. So, it is interesting the way the argument works. It's theistic grounded in a sense, but it applies not just to Christians, it applies to other kinds of religious worship, to Jews, to Muslims, to heathens and so on. 

And you can see more widely a theological grounding for rights in figures like Locke. And that's encapsulated, obviously famously in the Declaration of Independence, Thomas Jefferson drafted in 1776, that ‘all men are created equal and endowed by their creator with certain inalienable rights’. So, this idea that we have certain rights that we cannot transfer over to the state, that we can alienate them over to the state, they're inalienable, and we have a solemn responsibility before God to protect them. So yeah, I mean, it's certainly by the 18th century, this rights language is absolutely flourishing within Protestant circles, and you can see it being taken up quite significantly in the abolitionist movement in the 1780s, though people are also shying away from it in the 1790s because of the French Revolution and Tom Payne's rights of man and so on. But if you read 19th century American religious abolitionists, people like Frederick Douglas or William Lloyd Garrison or others, they're using the language of natural rights, pretty insistently.  

BC  And it's often to articulate the kind of victim's perspective, isn't it, to defend the weak against the mighty and to say there's a bigger kind of justice that is beyond the state or the law. Is that right? Can you tell us a bit about how that works?  

JC  Yeah, no, I think that's absolutely right, and it's one reason why we should be wary about just tossing, tossing rights language out as some kind of secular poisoning of the, well, a, it does have some deep roots in Christian thought, but it also, rights language is also designed as one of the weapons of the weak, if you like. It's a way to defend those whose claims are often ignored and to assert their human dignity. So, it's why it gets taken up so much by religious minorities, by those who are pushing for widening the vote and suffrage maybe to all men, maybe eventually to women. The anti-slavery movement is using it, and of course, by the 20th century, the Civil Rights movement.  

BC  But as you said, Wilberforce himself doesn't really use this language much, partly because the arenas he's speaking in and partly because of these associations with the French Revolution. Is that right?  

JC  Yeah, and if you look in the 1790s, it's interesting because it's from that period really the language of left and right starts to emerge, and those on the right are very much concerned about law and order. They look across at France and they see disorder and the guillotine and regicide and Civil War and the exile of Catholic priests and so on, and it's extremely alarming for them. So, the emphasis very much shown law and order, and they become extremely alarmed by the way that rights language has been used to undermine order. So, it's classically articulated at that divide between Edmund Burke on the one side and Tom Payne on the other. What's interesting in the British context, is you'll find sort of devout Protestant Christians on both sides of that. So, Wilberforce would be very much on Burke's side in this argument, but the founder of the London corresponding society in the 1790s, a man called Thomas Hardy, he's actually a devout Scottish Calvinist, and he's absolutely on board with this rights language. And so different religious groups will be divided over this. 

 

Follow the rest of John and Bethan's conversation on the GFI podcast.

Global Faculty Initiative resources

Justice & Rights is published by  Langham Publishing. See the link below to order.

The Justice series on the GFI Podcast features six episodes. Listen on Spotify.

Explore the GFI matrix of academic subjects and themes