August 19th, 2009
“The Class”: This Teacher’s View
French filmmaker Laurent Cantet’s highly praised film “The Class (Entre Les Murs)” has finally been released on DVD. I think the film deserves high marks for its effective use of cinema verite style and demonstration of the complexity of the relationship between teacher and student.
In an interview with Dennis Lim in the New York Times on Sept. 21, 2008, Cantet said “I don’t want to make a version of ‘Dead Poets’ Society‘ where the teacher is brilliant and heroic and knows everything. I wanted to show a school in all its complexity, where the students don’t always learn and the teachers are not always sure of what they’re doing.” I think he certainly realized his intentions. And I think Lim is correct when he says that The Class simultaneously revives and undermines the heroic teacher genre.
As a teacher myself, however, I think that the teacher who is the focal point of the film provides a classic example of inappropriate pedagogy. That teacher is not a fictional invention, but rather one Francois Begaudeau, the teacher on whose autobiographical book the movie is based. Maclean’s reviewer Bryan Johnson called him “a passionate instructor who challenges his students,” but New York Times reviewer Manohla Dargis was closer to the mark when she called him a “quietly stubborn, prickly man.” Begaudeau’s pedagogy is Socratic to the extreme, as he argues or quibbles with virtually everything his student’s say and routinely teases his students.
Begaudeau bears a physical resemblance to Colm Feore, one of whose roles was as Pierre Trudeau, and revels in the disputatiousness of the Jesuits who educated Trudeau or the Talmudists who provided some of my education.
The question is whether this is appropriate pedagogy for Begaudeau’s students, who are a diverse multi-ethic and multi-racial group in the twentieth arrondissement of Paris, not unlike the disadvantaged and insecure students Jaime Escalante faced in Stand and Deliver. The question is particularly acute because Begaudeau teaches French grammar, and one of his points of confrontation with his students is over the use of the complex subjunctive forms. While Begaudeau defends the snobbism of traditional grammar, the students advocate contemporary usage. (Traditional subjunctive forms also appear to be disappearing in English as well.)
The movie revolves around Begaudeau’s assignment that his students write, and then present to the class, self-portraits. Self-portraits can, of course, encroach on all sorts of personal issues. The students are clearly uncomfortable with the assignment. And why shouldn’t they be uncomfortable revealing themselves to an instructor who teases and belittles them?
The instructors in Begaudeau’s school hold evaluation sessions for the students at which two student representatives are present. In his case, the student representatives - both women whom he has ruthlessly teased along the way - afterwords reveal to the students his critical comments in the evaluation sessions. (I should say that I found it surprising that the student reps were not sworn to confidentiality.)
When this comes out in class, Begaudeau accuses the women of behaving like bitches at the evaluation session. This incendiary remark immediately is taken up by the school’s gossip mill to the effect that Begaudeau called the women bitches. Begaudeau’s distinction between behaving in a way that will be perceived as bitchiness and being a bitch hardly nullifies the inappropriateness of the remark. In a later scene, Begaudeau confronts the women in the school yard, and, as the student audience grows, his own loss of self-control increases.
Begaudeau has confused being rigorous and intellectually challenging, which is desirable, with being culturally and personally arrogant. The heroic teachers of such films as Stand and Deliver, Dangerous Minds, and Freedom Writers display a level of empathy that is entirely foreign to Begaudeau. I use the word foreign deliberately, perhaps because Begaudeau’s behavior was entirely consistent with French, rather than North American, cultural norms.
While I enjoyed the complexity of the movie, as a teacher myself, Begaudeau made me cringe. I found him an object lesson in dangerously ineffective pedagogy. Yes, The Class undermines the heroic teacher genre, but it does so because Begaudeau’s pedagogy itself is so flawed.
