School Of Rock: Selling It To The Man?
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Jack Black is very funny. He steals movies where he has supporting parts like High Fidelity, and his performance with Will Ferrell at the Oscars was the highlight of a very predictable awards show. Blacks persona is a fascinating paradox; I like the oxymoron that Entertainment Weekly recently created for him: the frenetic slacker. Blacks characters seem to be very passionate, but that energy is reserved for activities that seem to serve little “productive” value in our current economic order. Hence Barry, the part-time clerk who puts in full-time hours at Championship Vinyl in High Fidelity and berates customers whose tastes he finds offensive. Where the lead character Rob comes to the realization that emotionally hes been living in an extended adolescent state and opts to grow up, Barry – and the Black persona more generally — represents those dudes who, into their thirties, still behave like college sophomores.
Richard Linklater, whose breakthrough film, Slackers, depicted the life of twenty-somethings refusing to wholly buy into the workforce system, would seem an ideal choice to direct Black in School of Rock. Here Black plays Dewey Finn, a guitar player still dreaming of the big break, forgetting the Clashs famous dictum, “if youve been trying for years, we already heard your song.” Dewey is threatened by his roommate Ned and Neds girlfriend with eviction if he doesnt pay his share of the rent, but Dewey simply shrugs off the threat by believing his group will win this years battle of the bands. Dewey doesnt even get along with his other bandmates: his solos are out of control, he mugs annoyingly to the crowd, and even does stupid frat boy stunts like diving into the crowd mid-song. For this, his band dumps him. Desperate, Dewey pretends to be Ned and gets a job at an exclusive private elementary school. Because the children are generally type A students, they expect to learn, while Dewey is mainly interested in his paycheck; he wants to give them recess until their injured teacher returns. But soon, Dewey learns that the children are learning music, and creates a “school project” – Rock Band – in order for him to create a group to compete in the battle of the bands.
School of Rocks plot is not very original. The parents dislike of rock music resembles the grown-ups attitudes in countless early rock and roll film “classics” like Mister Rock and Roll or Dont Knock the Rock, and like in those earlier films, the closed minds are opened by the end of the film. The “unconventional-but inspirational teacher” theme is also highly familiar; School of Rock could easily be called Dead Rockers Society, among other titles (Goodbye, Mr. Potato Chips?). The outsider who steps into a straight-laced social order and turns things around had one of its more successful turns in the nineties with the Whoopi Goldberg vehicle, Sister Act, where Whoopis “Sister Mary Clarence,” hiding in a convent from a killer whom she witnessed in the act, shakes up the nunnery with her devotional soul music. Generally speaking the positive reviews the film received centered around Mike Whites well-written script, Linklaters touches of realism in what is essentially a fairy tale, and Blacks charm, including his rapport with the generally strong child cast (most of the band members were hired for their musical talents first; some of them had never acted before). This is all true, as far as I am concerned.
For me, whats interesting about School of Rock is not its relationship to countless other fish-out-of-water films, or even necessarily its relationship to other rock and roll films. Its what I call the rock and roll rhetoric, the social assumptions about rock music that those who love it assert as a means of justifying their interest in it. According to Rock and Roll Rhetoric, rock sets you free from conformity, from boredom, even from the everyday, nine-to-five world. Rock and roll, Dewey tells the kids, is about “stickin it to the Man.” The Man, Dewey says, is responsible for creating the social world that doesnt find any value in what slackers like Finn want to do. What is ironic is that the children Dewey teaches are The Man, or rather, their parents are. They pay more for one year of fifth grade than many parents can afford to send their children to college for four years. They are surely better educated, at ten, than Dewey is. One girl, Summer, is a classic type A personality who lands the part of “band manager” as part of the