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2021.01.14 19:44


Country: USA; director: Amy Heckerling; Audience Score: 86706 vote; average ratings: 7,7 of 10; Release Date: 1982; Creators: Cameron Crowe

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Which way do I go on this? By the feature content or by its roots?
The content is centred on a brother and a sister who can be described as having cursed sex lives, also on an individual who can be described as cursed. I find the treatment to be relevant and sympathetic, not just a school kid thing.
This is based on a book sourced by the writer going back to high school and pretending to be a school kid. From the DVD making of he was someone who left school early, before qualifying, in order to work in journalism and he had enough success for there to be interest in a film script at a fairly early stage.
The DVD commentary and making of underline that this is a story that a lot of people actually love. Some comments talk of the feature as if it is a historical document.
What is not discussed in the DVD is whether he had informed consent from the school and the kids for doing this. I am reminded of the feature in America's Sweethearts (2001) and provisionally assume no. I am reminded of my past experience of the UK arts, etc, worlds and assume no. One description is that this story is based on the kids who made friends with the writer, my guess being that they did not know that he was an experienced professional writer doing a job. In the UK I have come across that in more than just artists, it is fairly commonplace. The DVD says fly on the wall.
Further, fly on wall suggests that the observer is showing reality as it is there. If that were true in this case I would only consider it to be the surface of reality as interpreted by the fly. In reality I would expect a lot of puppetry to be going on, with most story tellers in this fly genre to actually be puppeteers moulding reality to say other than what would naturally happen. Propaganda.
My qualms relate to basic civil rights. Is this in harmony with the civil rights of those at the school when the spy project was carried out, or were these being walked over in the name of a storyteller wanting basic input for the story that would be written? Maybe, maybe not. My past in England tells me that there are real issues here. HSM 2 has a phrase 'iced tea imported from England' which does not necessarily refer to this.
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So I need to clear that point before making a personal decision re how I rate this story.
I had already started to have qualms re I Could Never Be Your Woman (2007) though in part that is a parody of such situations, daughter is not impressed with mum. I had understood it to relate to the writer's experiences re the over forties and to second childhood, but there are small bits of the detail that make me wonder if this links with a UK arts spy type thing. There are bits of this story that I rate a lot, but I now need a way to clear that point. Questions of basic civil rights, questions hinted at in America's Sweethearts. And also in I Could Never …
To consider reality, to some extent any individual needs to be a story teller. I found the where and how of story tellers getting and using their inspiration to be a difficult question. Integrity to others versus integrity to reality versus integrity to oneself. For some, paradox and taboo can make it impossible to be a person. Sweetheart shows an approach that goes to another extreme. My user comments here tend to wobble all over the spectrum as I do not find The Now to be so helpful for moving towards good practice in healthy ways. I currently rate the approach of the writer of Heathers (1988) which was not an easy step for me to attain. Ridgemont is different, not the same approach to inspiration sources. I Could Never Be Your Woman appears to be vastly different again. I find the issues to be difficult stuff.
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The babies trilogy, started by Amy when she was pregnant? suggests to me that in Ridgemont she was directing a story that she could have faith in, that the characters were the sort that she felt at home with? So that is a big guess and the tall glam Linda, friend of Stacy, looking a bit like young Amy will just be coincidence. Fly on the wall spy writing, especially when those targeted are nearly underclass types, is widely respected so its use is understandable. No way should I accept it, though.

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