What Fast Times was to the 80s, Bang Bang may be to 2002. Entirely different films tone-wise, these two titles may, nevertheless, present each decade's primary concerns revealingly.
Bang, Bang, You're Dead gets its title from a play of the same name. That play examines the conscience of a fictional high school boy who went on a killing rampage not dissimilar to the fairly recent all to real ones.
Bang, Bang, the movie provides us with a reason to believe that the play is a necessary one. Trevor, the main character, seems to be (to have been) on the brink of the kind of meltdown that could lead to columbine type violence. We encounter Trevor in the middle of his story, as the previous year saw him in trouble for a threat of violence. As a result of this outburst, Trevor is looked upon with suspicion by almost all of the other members of his community. Instead of receiving support from those tasked with being concerned about his welfare, he instead is objectified into a certain kind of _character_ whose options are limited.
Mr. Cavanagh gives us a fine performance of what is more or less his TV character, Ed, thrust into the well-meaning and perhaps wiser than the rest of the community, theatre teacher who believes in Trevor's fitness for high school. Despite the outrage of the community, he wants to cast Trevor as the lead character in the play Bang Bang, You're Dead. Unfortunately, the folks in the town only know the basic elements of the play, as is indicated by their systematic failure to correctly recite the title.
A study of the tenuous connections that hold a community together, and how those connections can lead to tension that pushes the breaking point, Bang, Bang shows us that we are not always as free from responsibility of our outcasts as we might suppose.
Where the film "Bully" gave us a fairly unsympathetic case of teenage power dynamics and the explosive results, Bang Bang takes an intensive (and realistic) look into the conditioning done within high school halls. In the present mood of paranoia about the threats from outside of US culture, it's important for us to see that even in what might seem to be the most protected of our inner sanctums, we may force some elements of ourselves into an almost violent desperation. That this could occur to a middle class white male in a most similarly raced and classed environment, hopefully gives us pause when we think about the marginalization we force on those further from the so-called center.
Bang, Bang, You're Dead gets its title from a play of the same name. That play examines the conscience of a fictional high school boy who went on a killing rampage not dissimilar to the fairly recent all to real ones.
Bang, Bang, the movie provides us with a reason to believe that the play is a necessary one. Trevor, the main character, seems to be (to have been) on the brink of the kind of meltdown that could lead to columbine type violence. We encounter Trevor in the middle of his story, as the previous year saw him in trouble for a threat of violence. As a result of this outburst, Trevor is looked upon with suspicion by almost all of the other members of his community. Instead of receiving support from those tasked with being concerned about his welfare, he instead is objectified into a certain kind of _character_ whose options are limited.
Mr. Cavanagh gives us a fine performance of what is more or less his TV character, Ed, thrust into the well-meaning and perhaps wiser than the rest of the community, theatre teacher who believes in Trevor's fitness for high school. Despite the outrage of the community, he wants to cast Trevor as the lead character in the play Bang Bang, You're Dead. Unfortunately, the folks in the town only know the basic elements of the play, as is indicated by their systematic failure to correctly recite the title.
A study of the tenuous connections that hold a community together, and how those connections can lead to tension that pushes the breaking point, Bang, Bang shows us that we are not always as free from responsibility of our outcasts as we might suppose.
Where the film "Bully" gave us a fairly unsympathetic case of teenage power dynamics and the explosive results, Bang Bang takes an intensive (and realistic) look into the conditioning done within high school halls. In the present mood of paranoia about the threats from outside of US culture, it's important for us to see that even in what might seem to be the most protected of our inner sanctums, we may force some elements of ourselves into an almost violent desperation. That this could occur to a middle class white male in a most similarly raced and classed environment, hopefully gives us pause when we think about the marginalization we force on those further from the so-called center.
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