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! 

 

Explainer
Christmas culture
Culture
Middle East
7 min read

The mysterious Magi: outsiders, outlandish, Uyghur?

Many claimed the Wise Men, wherever the story was heard.

Benjamin is a DPhil student in the Faculty of History at the University of Oxford. He is researching the experience of Christian communities in medieval Central Asia.

Silhouttes of three wise men approach the Virgin and Child, painted on stone.
The Magi, Catacombs of Priscilla, 250AD.
Public Domain.

Our nativities are full of familiar figures. Mary and the angel Gabriel, Joseph and the landlords of Bethlehem (of varying hospitality), the shepherds above the town and the heavenly host. Finally, there come the three gift-bearers. While familiar, these perhaps remain the most mysterious guests at the manger. Are they three kings? ‘Wise men’? ‘Magi’? What indeed is a ‘magi’?  

Most of the features of our nativity come from the first two chapters of Luke’s gospel, but the magi (along with their counterpart, King Herod) are the primary contribution of Matthew’s gospel, appearing in the second chapter. The word used in Matthew is magi (magoi), a term that was often used for the priests of the Persian religion, today known as Zoroastrianism but in Antiquity known to outsiders simply as ‘magianism’.  However, in the gospel it is perhaps intended to carry less specific meaning, instead indicating more broadly those learned in esoteric knowledge, hence our common translation of ‘wise men’. We might be reminded of the class of experts who Nebuchadnezzar summoned to help interpret his dreams, over whom he promoted Daniel to be chief. These were people both knowledgeable and practiced in observing the patterns of nature, experts in hidden knowledge and science, propitiating and interpreting the divine, ‘magic’, alchemy, and astrology. Indeed, this is where we get our word magic from. It is someone of this kind who is intended by the other use of ‘magic’ in the New Testament, when in the book of Acts Simon the ‘magi’, having believed and been baptised, asks to buy the power of the Holy Spirit from Peter and John. Whichever definition is intended in Matthew, these are unexpected guests in Bethlehem.  

We learn very little further about them besides that they came from ‘the east’, to which they return as mysteriously as they arrived. Might they perhaps have been from one of the neighbouring eastern states that lay just outside the borders of the Roman Empire, such as Osroene, Adiabene, or Armenia, or even from the great Persian Parthian Empire? Parthia and its provinces were named specifically in the Book of Acts, but Matthew’s is a far more ambiguous reference. Indeed, many scholars would question the historicity of the episode of the magi’s visit, seemingly unrooted in time and place in contrast to the historical and geographical grounding of the rest of the gospels, and so clearly serving as a fulfilment of prophecy about the messiah. The old song of Psalm 72 says: “May the kings of Tarshish and of distant shores bring tribute to him. May the kings of Sheba and Seba present him gifts. May all kings bow down to him and all nations serve him.” Elswhere the book of Isaiah records: “The nations will come to your light, Kings to the brightness of your dawn… young camels will come bearing gold and incense, proclaiming the praise of the Lord.” When you see the gift-bearing magi represented as camel-riding kings on your Christmas cards, they are being shown as the fulfilment of these prophecies.  

Christians in medieval Europe were dimly aware of just how widespread Christianity was, and they represented this in their stories about the magi.

What is crucially important in their role as prophecy-fulfillers is that they are gentiles. Indeed, they are the first of those outside of God’s chosen people to recognise the Messiah. While Luke shows Jesus announced to the poor and humble among the Jews, rather than the priestly or royal, Matthew shows him recognised by the gentiles, the first trickle of a mighty torrent prophesied throughout the Old Testament: “All the nations you have made will come and worship before you, Lord,” sings the Psalmist. “In the last days the mountain of the Lord’s temple will be established… and all nations will stream to it,” records Isaiah once more. This is echoed also in Micah, the book quoted in Matthew by the chief priests to the magi: “The mountain of the Lord’s temple will be established, and many nations will come and say – let us go up to the mountain of the Lord.” These were outlandish claims and the magi represented the outlandish start of their fulfilment.  

Nevertheless, the magi in Matthew don’t float entirely untethered from historical reality, as they act out a story within the solidly historical setting of Herod’s final paranoia. His anxiety about the title ‘king of the Jews’, and his desperate massacre of the innocents both fit with what we know of his last days. For Herod, an Idumean (or Edomite), his questionable Jewishness had been a source of anxiety throughout his life, and he had become deeply unpopular by the end of his life, perceived as far too close to the Romans. Some scholars have suggested that Herod would have found fewer than a dozen infant boys around Bethlehem, as such it is unsurprising that his order is otherwise absent from the historical record. One of the few authors to cover this place and time was Josephus but writing almost a century later, he is much hazier on this period. He does, however, note that at this time Herod’s paranoia had driven him to kill three of his own sons, including his heir, historically much more significant and shocking. Josephus also claims, that on his deathbed Herod gave orders to have all the principal men of the entire Jewish nation killed when he died, to increase the mourning of the people, orders which were not carried out. 

That one day people of all nations and tongues would come to worship the God of Israel is one of the more outlandish claims recorded in the Old Testament. Even for early Christians, who were more actively seeking its fulfilment, it must have remained somewhat unimaginable, given they were still a minority in a corner of the Roman and Persian Empires who knew very well that human societies stretched on beyond their known horizons. By the Middle Ages, it was appearing a lot less outlandish. There were now Christians as far flung as Iceland, China, and Ethiopia. Christians in medieval Europe were dimly aware of just how widespread Christianity was, and they represented this in their stories about the magi. They imagined them as three kings (echoing prophecy and expounding scripture) from the three ‘petals’ of the world which connected at Jerusalem, representatives of the many gentile nations who would embrace the gospel. One for Europe, one for Asia, one for Africa; even in medieval Europe the church was understood as encompassing all three, and the magi were the first indication that it would.   

In Asia, ‘east’ of Jerusalem, the magi assumed different significance. Whether in Persia or China, claims were frequently made that the magi had come from their own place or people. Among the Christians of Mesopotamia (covering present-day Iraq and parts of Syria and Turkey), where Christianity had first arrived under the Parthian Empire, various legends were written about them in Syriac (a dialect of Aramaic). Here they often numbered twelve and were claimed as the founders of various churches and villages. Further east, and later, in the thirteenth century, an Armenian Christian lord, Smbat Sparapet, recorded in a letter that, while travelling across the Mongol Empire and visiting Christians in Central Asia and China, he had noticed they all decorated their churches with images of the magi. He recorded that the magi were believed to have originally come from China, from the region corresponding to present-day Gansu province. His brother, the Armenian king of Cilicia (south-east Turkey), who later made the same journey alternatively recorded that the magi had rather come from among the Uyghurs.  

The Turfan Oasis, lying to the north of the great Taklamakan desert in today’s Xinjiang province in China, also known as the Uyghur Autonomous Region, was home to a community of Uyghur Christians between at least the eighth to fourteenth centuries. One of the few surviving indications of their presence is a large collection of fragmentary manuscripts, preserved by the dry desert conditions. Among these is a unique legend concerning the magi, originally written in Syriac, but here translated into Uyghur. It preserves the account from Matthew but with some additions. For instance, the identification of the magi with the Zoroastrian priesthood is made explicit, probably owing to the original Syriac authors’ own familiarity living among the ‘magians’ of Mesopotamia. Most striking of all though is the word choice of the Uyghur translator. Approaching the infant Jesus, the magi hail him as ‘Khan Messiah, the son of Tengri.’ The magi’s royal gift of gold recognises Jesus as ‘khan’, a straightforward translation of ‘lord’ but one which carries local cultural resonance. Tengri, however, was the high God of the Uyghurs and Mongols. He was the creator, present everywhere, but associated particularly with the heavens. To see Tengri in Jesus was to see the mighty God who forged their own sky and steppe come to earth as infant and man.  

The popular legend that the magi had come from among the Uyghurs, which perhaps motivated this translation, connected their immediate reality to the distant settings of the gospel stories. Like the legends of the medieval west, this too served to communicate the truth that in the recognition of Jesus by the first gentiles, the magi, could be seen the start of the gospel’s journey to all gentiles, all nations, tongues, and petals.  

This Christmas, when you see the magi on your cards and in your nativity scenes, or you sing carols about three kings, think about the deep traditions that have formed these images, representations of prophecies fulfilled in Jesus, of the inclusion in the kingdom of all nations and of you too. 

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