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! 

 

Editor's pick
America
Culture
Leading
Politics
8 min read

Molly Worthen on the charismatic leaders of America's cosmic drama

The plots and plotters that hold us spellbound

Nick is the senior editor of Seen & Unseen.

Viewed from behind, Trump raises a fist.
Trump on the stump.
White House via Wikimedia Commons.

What happens when Americans lose faith in their religious institutions—and politicians fill the void? In Spellbound: How Charisma Shaped American History from the Puritans to Donald Trump, Molly Worthen sweeping history helps us understand the forces that create leaders and hold their followers captive. 
 
Everyone feels it. Cultural and political life in America has become unrecognizable and strange. Firebrands and would-be sages have taken the place of reasonable and responsible leaders. Nuanced debates have given way to the smug confidence of yard signs. Worthen asks just how did we get here? 
 
Worthen, a historian argues that we will understand the present moment if we learn the story of charisma in America. From the Puritans and Andrew Jackson to Black nationalists and Donald Trump, the saga of American charisma stars figures who possess a dangerous and alluring power to move crowds. They invite followers into a cosmic drama that fulfils hopes and rectifies grievances—and these charismatic leaders insist that they alone plot the way. 

Author and historian Tom Holland loved this book.  

“The great story of charisma in American history, from the Massachusetts Bay Colony to MAGA, has never been more thrillingly told, never more learnedly explicated.” 

In this extract, entitled Plotlines, Worthen introduces her four categories of charismatic leader: Prophets. Conquerors, Agitators, and Gurus.  

Plotlines

Over the past several years, whenever I told friends or family that I was writing a book about charisma, they responded with a reasonable question. Which charismatic figures would I include? They peppered me with suggestions: What about Elvis Presley, or Dolly Parton? Michael Jordan or Muhammad Ali? Surely I had to say something about Taylor Swift, right? 

None of these fascinating people appears in this book. As you read it, you will probably think of a dozen others whom you wish I had included, and I’m sure you’ll have a point. I have mostly stuck to individuals who worked to build a movement in organized religion or politics, rather than musicians, artists, or athletes. Even within the spheres of religion and politics, I’ve been selective in order to craft a manageable story and bring into focus the patterns and transformations of charismatic leadership over the course of American history. 

Sometimes this is an inspiring story, because charismatic leaders often turn up—and people decide to follow—out of a desperate response to alienation and injustice. People in anguish seek a savior. Yet charisma has no fixed moral standing. It can carve a path to freedom or to enslavement; it can lead people to embrace the rule of law or to sneer at it. Charisma causes problems for democracy as well as for authoritarian regimes. Without a sustained analysis of charisma over the long haul of American history since European settlement began, we are doomed to bumble along, blandly observing that ordinary people declare many allegiances that seem to contradict their own material interests and sabotage democracy—but never understanding why. 

Over the past four centuries, five types of charismatic leaders have surged to dominance, each offering a variation on the great paradox, a different way for followers to hand over control while feeling liberated. I use these categories both to classify leaders and their movements, and to chart historical change: each type reacts to the type that came before, and responds to the pressures and anxieties of its own era. Like all typologies, this one maps imperfectly onto real people. Almost no one is a “pure” example of these categories, and some leaders are interesting precisely because they react against their age’s dominant type. But these categories have compelled even leaders who defied easy labels—that’s most of them—to respond to the ascendant charismatic style of their age. 

The Prophets take us from the end of the Middle Ages into something beginning to resemble our own world. They drew on ancient patterns of contact with the divine to challenge authorities and captivate followers with the terror and ecstasy of God’s presence. They hewed close to tradition, operating in a time when Old World strictures still constrained life in the New World rather tightly. But some used those traditions to undermine reigning institutions, whether by violent rebellion or illicit gatherings—and so provoked a backlash. If the Prophets conceived of freedom in terms of divine salvation, they often harnessed mystical power for this-worldly ends. Usually this meant dismantling any structure that stood in God’s way. 

The Prophets were, essentially, destroyers. In their wake they provoked an age of builders. 

The Conquerors rose to prominence in the early nineteenth century—an age of mythology, mass media, and frontier enthusiasm in the European American imagination. They swung away from the age of the Prophets, who had so much to say about how powerless humans are. 

Some of the Conquerors wielded military power, but all of them pursued what we might call metaphysical conquest. They fought to control spiritual forces. As the predestinarian Puritanism of earlier generations lost its appeal, more people placed an almost fundamentalist faith in the power of free will. It was tempting to think of spiritual forces—perhaps even the Holy Spirit— as a kind of technology, ready for manipulation. The stakes in these campaigns were high at a time when new advances in science impinged on everyday life. Waves of immigration made the country more religiously and ethnically diverse. Americans felt both freer and yet more confined than ever before. 

The Agitators gained sway at the turn of the twentieth century, protesting modernity as a raw deal and democracy as tyranny in disguise. The Conquerors had, overall, expanded government authority over Americans’ lives and advanced a golden idea of progress. Now the pendulum swung back toward calls for destruction. The Agitators found a market for attacking the state and denouncing so-called progress as a lie. They defined themselves as outsiders whether they were or not, and discovered that gaining material power does not mean that one must stop telling a story of exile and affliction. This proved to be an important lesson in an age of world war and economic disaster: global crises have a way of transfiguring an outcast dissenter into a credible threat tot he standing order. Meanwhile, Christians grew wilder in their displays of New Testament charisma—because, paradoxically, it was easier to grapple with what Max Weber called the “iron cage” of modernity by embracing ever more outlandish signs of divine power. 

The Experts were, on the face of things, the Agitators’ opposite in charismatic style. They were builders. In the wake of World War II, they capitalized on a backlash against the nightmare years of fascist demagogues, embraced the zenith of traditional institutions’ authority across Western culture and politics, and nurtured Americans’ faith in the power of technology and bureaucracy to solve large-scale problems. 

They claimed the mantle of reason and procedure and did their best to relegate the political or religious clout of charisma to the distant past or primitive cultures. 

But in fact, the three decades after World War II witnessed an explosion of religious revival in America—led by Christians who spoke in tongues, looked for the end times, and claimed to heal through the power of the Spirit. Even in the domain of credentialed and supposedly secular healing, the line between medicine and spirituality grew fuzzier. These years were the Experts’ apogee of cultural prestige, but Americans’ long- standing ambivalence about intellectual elites persisted. The most successful leaders capitalized on those mixed feelings. They nursed the tension between the Cold War celebration of science and freedom and, on the other hand, the lurking sense that technological leaps obscured eternal truths and needed the organizing power of a good story. 

By the end of the twentieth century, as Americans lost faith in established media, churches, government, and nearly every other bulwark of modern society, the destructive strain of charismatic leadership re-surfaced in the form of the Gurus: preachers of self-actualization and get-enlightened-quick schemes, promoting God’s new temp job as personal assistant. Old-fashioned Pentecostal revival persisted too, but its leaders struggled to prevent the culture wars from capturing the Holy Spirit. 

The Gurus looked, at first glance, like the Prophets and the Agitators. But in the generations since those earlier eras, it had become harder to pay obeisance to tradition—which was just fine, since the erosion of institutions had weakened traditions anyway, and opened a path for Gurus to achieve more influence than their destructive predecessors. Religious and philosophical tradition, in the hands of the Gurus, was no longer a firm guide but a palette for painting illusions of independence. Sometimes they used it to depict a new reality impervious to fact-checkers. 

“Guru,” which means “remover of darkness” in Sanskrit, was originally a religious term. But in the third decade of the twenty-first century, the most prominent guru in the country was a businessman named Donald Trump. Trump was not, personally, a paragon of conventional religious devotion. Yet his political career depended on a hunger among his most dedicated supporters that can only be called spiritual. Like so many relationships between charismatic leaders and their followers, it stumped and angered those on the outside. Against the backdrop of the American charismatic tradition, however, his success makes perfect sense. 

How, then, did early modern mystics and Puritan heretics who heard the voice of the Holy Spirit give way to devotees at a modern presidential rally, jostling toward the candidate iPhone-first, praying for a selfie? By the early twenty-first century, most religious institutions in the West had declined into husks of their former authority—at least by the usual measures. Today commentators turn more than ever to materialist explanations for political dysfunction, polarization, and the culture’s general crisis of confidence. They cite growing social inequality, impassable disagreements on policy, persistent racism and xenophobia, evil automated forces lurking on the internet. All true—yet all insufficient accounts. If we define the religious impulse as a hunger for transcendent meaning and a reflex to worship, then it is a human instinct only slightly less basic than the need for food and shelter, and Americans are no less religious than they have ever been. They will always find a way to satisfy these desires, even if charisma carries them down strange and costly paths. 

 

Spellbound: How Charisma Shaped American History from the Puritans to Donald Trump, Penguin Random House, 2025.