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Edward Norton, Edward Furlong, Beverly D'Angelo, Jennifer Lien, Ethan Suplee, Fairuza Balk, Avery Brooks, Elliott Gould, Stacy Keach, William Russ (mehr)Streaming (5)
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Der 16-jährige Hitlerfan Danny Vinyard (Edward Furlong) muss eine Schulaufgabe über seinen Bruder Derek (Edward Norton) schreiben, der am selben Tag aus dem Gefängnis entlassen wird. Drei Jahre zuvor hatte der charismatische Skinhead Derek drei Schwarze getötet, die sein Auto stehlen wollten und er war zu einer Art Ikone der White-Power-Bewegung aufgestiegen. Was jedoch keiner weiß: Im Knast hat Derek Hass und Gewalt abgeschworen. Jetzt ist er wieder auf freiem Fuss und für ihn beginnt ein verzweifelter Kampf um die Seele seines Bruders. (Universum Film)
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American History X hat eine hervorragende Besetzung (insbesondere Edward Norton, Beverly D'Angelo und Fairuza Balk) und eine logisch aufgebaute Geschichte, die den Zuschauer zum Nachdenken anregt. Und neben den gezielt eingesetzten Schwarzweiß-Sequenzen gibt es auch ein geschickt eingestreutes Massaker mit der derben Komik eines Mitarbeiters einer Wäscherei, der kein KKK-Fan ist.
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Strange, but I suspected it was coming to exactly that ending – the ending of the movie, that is. For me, the story doesn't end. I'll still be caught up in imagining what came next. How this last event played out in the lives of these "fictional" people. And I regret it; the foolishness, the ignorance, the rudeness, the hatred, the understanding, the leader, the indelible mark. What a strange picture. It's just that my heart isn't beating enough for it to get 5 stars.
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As a film about the danger of neo-fascism and racial violence shown in schools as part of education, American History X would work almost flawlessly, but as a drama with artistic ambitions and also with such high ratings from fans, this film is not convincing for me. The problem is not in the actors, because Norton and Furlong belong to the very best that American cinema can count on in this age category, the problem is simply in the unconvincing screenplay that steers the story too much toward a family melodrama, where a school assignment or a fabricated prison story is enough to turn toward the right path, which really doesn't feel authentic. It is not even a film incidentally mapping a very interesting scene of American far-right heavily influenced by Christian fundamentalism, and it is not even a film about the skinhead movement. The film is based on the acting talent of Edward Norton, who underwent an incredible physical transformation and suddenly became an uncompromising guy with a well-built physique and a hateful grin on his face, who can execute members of a black gang in one of the two truly intense scenes. Overall impression: 65%.
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An excellent film with a superb Edward Norton about the fact that scum can be found among both whites and blacks – but that’s something every sane person knows already. The film, however, doesn’t answer the question of how to solve this problem, provided, that is, that the viewer is not supposed to subscribe to the naive idea of the re-education of a Nazi in prison. But even if it was a stupid film (which is not, it’s just a little intellectually half-baked), Norton’s performance would still keep it afloat.
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From skepticism to crushing punchlines and feelings. Each storyline has its meaning and power, and in combination with the amazing Ed Norton, which will often give you chills, and Tony Kaye's meticulous camera, the relatively pointless material becomes a rightfully celebrated study of the darkest aspects of human nature.
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Galerie (67)
Photo © 1998 New Line Cinema
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