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HEARTS AND MINDS - EPISODE FOUR Thursday 09/03/95, Channel 4 reviewed by Jack Kibble-White |
September
2000
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Jimmy McGovern's reputation might have been forged on the back of Cracker, but episode 4 of Hearts and Minds represents the best 60 minutes of television he has penned so far. Hearts and Minds is impossibly sad and - one senses - achingly autobiographical television. Ostensibly the story of idealistic schoolteacher Drew Mackenzie (played by McGovern stalwart Christopher Ecclestone), this is a paean to those of us unable to endure our inability to deliver promises we have made to loved ones. The preceding three episodes have charted Mackenzie's principled, but naïve attempt to live out his romanticised notions of teaching. By the time we reach this point, his relationships with his wife, family and peers have all but disintegrated under the relentless weight of a societal system determined to break his idealism and bring him into line. His efforts to address classroom homophobia have backfired resulting in Drew becoming a schoolyard and staffroom pariah - accused of being a racist. His attempts to encourage Sahira, an Asian pupil, to break free of her cultural and parental suppression have catastrophically resulted in a suicide attempt as the child - having glimpsed this "land of the free" becomes traumatised by the realisation that she does not possess the courage to attain this dream. On top of this, his wife is having an affair, and his probationary period is drawing to a close. So there is much to resolve in the last episode. Navigating towards a conclusion, McGovern is a sure skipper ensuring that we never drift into areas of moral certainty, nor morbid capitulation. Drew finds a staff room ally, as one of the more elderly, but reprehensible teachers - Shotton - courageously expresses his support for Drew's anti-homophobic stance, finally revealing that he - himself - is gay. In lesser hands this moment might have signified some turning point within the drama, or indeed in our perception of this obviously misunderstood character. Yet, here this is just another example of a character able to identify what is "right", but - like Sahira - not possessing the courage to live to their own ideal. Self-repulsion and compromise appears to be something of a running theme here, and, on reflection, it is easy to view Hearts and Minds as a drama about how to learn to live with your moral compromises. So far Drew has refused to admit he is not up to the mark, and has wasted his energies concentrating on battles he cannot win. The series' crescendo is almost insignificant in terms of a meaningful win against the "system", but is mightily satisfying nonetheless. McGovern chooses to throw a little caution to the wind, as Drew is able to produce an extraordinary school play. Chastised by the headmaster for attempting to allow the school childrens' creativity free flight, Drew's production of Julius Caesar begins as a dry paper exercise enforced by the head, but soon soars in to a glorious expression of freedom of thought as the cast (under his tutelage) abandon their set text in favour of a savage evocation of their freedom to think. This is "punch the air" Grange Hill territory, and a massive, emotional relief. But it is also a turning point representing Drew's final realisation that the only battles he can win are the unimportant ones. McGovern is a writer who takes dramatic, emotional chances and here it pays off in spades. Thus, it is a momentary release from the crushing reality of Mackenzie's fractured dreams. As the final episode concludes, Mackenzie departs for the last time (like Shotton should have done) able to cling to the memories of small victories. As he drives away the incensed viewer is left pondering who's to blame. Hearts and Minds is a drama that avoids finger pointing. There is no evil, simply levels of pragmatism and compromise. No one man is to blame. McGovern tells us that we all let this happen to Drew. How did we let it happen? |
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