Higher Learning

When a new director emerges with as stunning a debut as Boys ‘n the Hood, the follow-up(s) are closely monitored and compared, regardless of whether people want them to be or not. Here in 1995’s Higher Learning, director John Singleton’s third full-length feature, he gets to explore the horrors of racism (again) and university life through the eyes of three protagonists.

Beginning their freshman year at Columbus University (certainly deliberately chosen as a name) are Kristen (Kristy Swanson), Malik (Omar Epps) and Remy (Michael Rapaport). Kristy is a harmless and idealistic girl from the country who quickly comes to learn that university life is no humble small town as she finds herself in a terrible situation with a drunken boy. Malik is a young black athlete with a chip on his shoulder that slowly expands to swallow his world while Remy, a simple country boy, becomes swamped by idealistic beliefs in his desire to fit in and be accepted by others.

"They hate me 'cos they ain't me"

When Malik and Remy’s worlds collide, the campus becomes a racial hotbed and the naïve Kristy attempts to cool matters with a 'Peace Fest' to celebrate the campus diversity. However, this just becomes the springboard for the mounting tension to escalate beyond control with horrifying consequences.

Singleton has painted some deeper characters here with issues they aren’t even aware of that are drawn out by the tensions of living with 18,000 other students. It’s a less-than-gritty look at racism that has been dealt with a little better in films like Romper Stomper (the neo-Nazi aspect anyway), but still builds tension as events inexorably roll on toward their conclusion.

Singleton has extracted defining performances from his cast here, with Epps and Swanson both putting in top-rate performances, but the film belongs to Michael Rapaport’s lonely, directionally bereft thug willing to take up with any belief as long as he is accepted. Notable performers also include the eternally angry Ice Cube as a long-repeating student and the beautiful Tyra Banks as the sweet and caring athlete girlfriend of Malik. Numerous smaller roles are filled by rap artists and Regina King who starred in both previous Singleton vehicles Boyz ‘n the Hood and Poetic Justice. Jennifer Connelly also supports as the lesbian interest of Swanson’s character, bringing the element of burgeoning sexuality into the film as well. This certainly helps define the film into its youth genre of inexperience meeting the real world head on. The adult supervisor of these proceedings is played by Laurence Fishburne who manages a slight African accent impeccably to bring his character’s philosophy and real-word values to the kids still trying to figure out the rules of this brave new world.

It’s a good film that does swell the tension fluidly along the way and portrays three very different storylines while unifying them with the campus. There are numerous subtle directorial tools scattered about to remind us this campus is a metaphor for America itself and these start to get laid on a little thick by film’s end, making us wonder if it’s not so much a metaphor for America but a propaganda film for America. Of course, everyone who knows Singleton’s work wouldn’t come close to assuming so much, so that idea can be discarded, but it does talk down to us as an audience just a teensy bit to the point of annoyance. We get it, John.

This is a fairly good transfer for this nigh-on-ten year old film. The picture is relatively sharp and well balanced, with colours even and nicely saturated. Blacks are true, but shadow detail fluctuates between good and not so good. The myriad flesh tones throughout are fine and look natural and the film is delivered us in 1.85:1 with 16:9 anamorphocity. There are really no major issues with the picture quality at all and the film looks fine.

The layer change is mildly clunky at 64:51 with a slight pause, but isn’t upsetting in the least.

Dialogue is clear and well spoken and is spattered with various world-themed teachings of life from various sources. Thankfully Morpheus doesn’t turn up in any of Fishburne’s constant poignant phrases from world literature. The Dolby Digital stereo though does a bang up job with everything here, including some beautiful acoustic moments in the lecture theatre when Fishburne’s booming, yet softer-spoken voice is imparting his wisdom.

The music is an awesome selection of tracks and fine score from Stanley Clarke that does well to build that hourglass tension towards the end. Tracks used come from all over and bands and performers include Tori Amos, Rage Against the Machine, Brand New Heavies, Outkast, Liz Phair, Eve’s Plum (live performance), Al Green, Aretha Franklin and Curtis Mayfield. All contribute to making this film sound just great.

As with Poetic Justice we don’t get much here with a John Singleton audio commentary, filmographies and trailers. The commentary is Singleton flying solo and does hold some interesting discussion of his motivations and meanings, plus his autobiographical sections he slotted into the film. This is a better than average one-man show by way of a commentary and a better one than Poetic Justice sported.

There are eight filmographies current to 2001 featuring staple cast members and Singleton himself. Finally three trailers for seemingly related films in Bad Boys, Baby Boy and Higher Learning itself.

Higher Learning has itself a decent overall plot with the intersecting storylines being far more likely than some other films in which stories interconnect. Performances are solid from everyone and test the boundaries of some actors more reputed for shallower roles. I remember seeing this film soon after its original release and being slightly less impressed than I was this time, perhaps due to the extent some key actors have taken their careers since.

At any rate it’s well worth checking out for fans of Singleton’s work and while a little too obvious at times, is still a good story well told.