Review of Half Nelson (2006) by Melaniestafford — 17 Feb 2019

Movie review: Half Nelson.

Directed & written by Ryan Fleck and Anna Broden, Half Nelson is a 2006 drama set in Brooklyn NY. White teacher Dan Dunne (played by Ryan Gosling) develops a multi-faceted relationship with one of his black students Drey (played by Shareeka Epps). While teaching, Dan proposes a theme of opposite forces in a dual with each other throughout history. This duality and interactive dynamics is reflected in his relationship with Drey, a young black teenager developing her sense of self and connection to the world. As a progressive and nurturing teacher, Dan is one of her sources of influences. Dan also struggles with addictions, which encroaches more and more on his life as the film goes on. This leads to Dan and Drey’s worlds colliding in a powerful way that leaves them both rattled. Half Nelson should be watched by social work students for at least the five following reasons. Roles and Identity.

Despite similarities, this movie is no where near the white hero teacher trope. Early in the film, teenager Drey finds her teacher smoking crack in the girls locker room. This leads to a scene where she is taking care of her white adult teacher. Her stoic expression & corn rolls depict strength, and his unboundaried and reckless drug use depicts the opposite. Intersectional Black feminism would be useful here in reflecting on the multi-directional nurturing role, while considering dimensions of power, age, ethnicity, class and role. Relationships to Drugs.

The historical relationship between crack and Black neighbourhoods make for a potent source of insights with a white main character addicted to it. In keeping with the films theme of oppositional forces, Frank, a black neighbourhood acquaintance of Drey is a drug dealer. Each adult offers a complexity of care and support towards Drey; while having an unmanageable addiction, Dan offers knowledge and wisdom to Drey that lead to a scene where Drey tells Dan “You have so many books about black people. Can I borrow one?”. This speaks to realities of euro-centric education systems, where Afro-centric knowledges have to be sought out. Brilliant direction.

From the opening scene, teacher Dan is portrayed as a boy sitting on the floor wearing tighty whities. A buzzing alarm rings, perhaps representing adult responsibilities, and Dan’s inability to assume some of them. This scene evokes knowledge about trauma informed practice, where sometimes avoidant, defiant & impulsive behaviours can give us clues as to the wounds experienced by an individual. Much of the film is depicted using hand held cinematography, giving the viewer a sense of immersion & sometimes nervousness, lived alongside the characters. Imagery is artfully used to expand our senses, which offers social working viewers vast & vivid emotional responses. Critical thought.

In class, Dan’s history teaching is progressive and left leaning. He encourages critical thought, including a scene where he shows a video that talks about “the machine”, which represent various systems of interdependent oppression. This prompts a student to note “Aren’t you the machine? You’re white and a part of the school?” and Dan responds.

“Why yes I am. Everything is opposing forces.” The historical themes seamlessly shared throughout the film link up to social workers responsibility towards social change. Interconnected oppressions.

During an intoxicated night out, Dan rants about the state of the world and feeling inconsequential in it. The scene ends with him holding onto a stranger like a child holds onto his mom. In the most powerful scene, both main characters find each other at their lowest. Following a family diner, Dan is using in a hotel room with strangers, and in walks Drey selling drugs. The actors brilliantly evoke devastation & defeat without any words. References:

Patricof, J. Orlovsky, A. Howell, L. Boden, A. Korenberg, R. (Producers). Fleck, R. (Director). (2006). Half Nelson. [Motion picture].