GIFTED

US, 2017, 101 minutes, Colour.
Chris Evans, Mckenna Grace, Lindsay Duncan, Jenny Slate, Octavia Spencer, John M. Jackson, Glenn Plummer, John Finn.
Directed by Marc Webb.

Gifted is a word more frequently used than before, referring to individuals who could be classified under the title, genius. It is particularly used in reference to young children who are emerging as prodigies, be it intellectual, be it with a talent for performance…

This is quite engaging film which focuses on a seven-year-old, Mary (played rather convincingly by Mckenna Grace) who is about to go to school, an ordinary school, where she is bored as the teacher asks the children basic sums. When she is asked more complicated addition and multiplication, she adds in the square root which alerts the teacher, Bonnie (Jenny Slate) to wonder where Mary would be best helped.

The thing is that Mary is living with her uncle, Frank (Chris Evans in a very sympathetic role), the brother of Mary’s mother, Diane, a mathematical genius who has committed suicide but entrusted her daughter to her brother. He has been a philosophy professor but has given it up and works on boat-mending in Florida, parenting Mary.

In comes an enormous complication in the form of Frank’s mother, Evelyn, a very British and determined woman (Lindsay Duncan, a strong stage and screen actress which is evident in a crucial court scene where she is cross-examined and gives strong-minded answers).

Head or heart?

When Evelyn takes Frank to court for custody, the past story emerges, Evelyn herself talented in mathematics, Cambridge-educated, but marrying and coming to the United States and living out her mathematical frustrations in the genius of her daughter. She has intervened strongly in her daughter’s life and relationships. On the other hand, she has been rather dismissive of Frank.

In the court sequences, with powerful cross examinations of both Evelyn and Frank, the audience is challenged to make their own decision about what is best for Mary. Should she have every opportunity to develop intellectually and mathematically? A decision for the head. Should she have more opportunity to act her age, to have a “normal� young girl’s experiences and grow into a rounded personality? A decision for the heart.

The judge has to make a decision. The question is raised whether it can be some kind of compromise. And, even if the answer is yes, how is the compromise to work in practice and what is the effect on Mary, especially her emotions.

To reinforce the issue of emotions, Octavia Spencer appears in something of a now-familiar role for her, as a sympathetic neighbour with whom Mary bonds, providing a kind of grandmother and nurturing figure.

This is a film which does appeal more to the heart than the head in asking the audience to respond to Mary, and the dilemmas about her education and her growing up.

1. The title, with reference to gifted children, the genius status and abilities, the demands for education, developing them as persons?

2. The Georgia settings, homes, the water and boats, the school, courts? The musical score?

3. The challenge to the audience, the issues and decisio 27 ns with head, with heart? The Court sequences, the audience listening to the evidence, looking at the characters, forming judgements? For the benefit of Mary? The difference stances, the judge and his decisions, the role of the advocates? The possibilities for compromise for the benefit of Mary?

4. Frank and Mary, their life together, the house, beginning the day, Mary having to go to school, unwilling, the bus, Frank going to his work on the boats? The situation about her education and her background? The gradual revelation throughout the film? Frank, associate professor of philosophy, Diane, his sister, her being a genius, mathematics, at age 17, the abduction situation, her relationship, the birth of Mary, the suicide?

5. Mary at school, the answers to the sums? Bonnie, the questions, discipline, alert to Mary’s ability? Mary on the bus, the boy with the models and his being tripped by the bully, Mary hitting him and breaking his nose? With the principal? The principal, the offer of the scholarship to the special school? Frank and his refusal?

6. Mary, her quality of life, not having friends, Roberta as a grandmother figure? Comfortable with her? The capacity for study, reading? Being bored by the ordinary? Being bored at school? The human side, the ride in the boat with Frank?

7. Audience impressions about Evelyn, her being absent for years? Her arrival, invited by the school principal? The past, as a mother, favouring Diane, not favouring Frank, her own mathematical genius, strong British tone, Cambridge education, the story about marrying, coming to the United States? Looking after her family? Not pursuing her maths studies? Living through Diane? Diane and discipline, at 17 and the ski holiday, Evelyn charging the young man with the abduction? His disappearance from Diane’s life? The sexual encounter, the birth of Mary, her suicide? Her leaving the manuscript to Frank?

8. Frank, the interrogation, his answers, the past, philosophy, giving it up, working on the boats, the scenes of him working with the parts, the relationship with Bonnie? Going to jail, the assault? His wanting the best for Mary?

9. Bonnie, as a character, in school, at the bar, talking with Frank, drinking, going home, meeting Mary, the embarrassment? Frank’s reaction in disciplining Mary? Bonnie and Roberta in the court watching?

10. The portrait of the lawyers, the hard cross-examinations? The role of the judge – and allegedly favouring the security of the money?

11. The lawyer, coming to Frank, the compromise, the effect on Frank, his agreement? Meeting the family, fostering? The conditions? Evelyn’s access? Frank by himself, his regrets? Mary, the tutors, Frank bringing the gift, the foster father talking about the meltdown, because of Frank?

12. Bonnie, seeing the notice about Fred, the blind cat and her knowing the bond with Mary? Photographing it, sending the photo to Frank? His going to the pound, preventing Fred being killed, taking the cats? Visiting Mary, Mary’s upset, her anger, the reconciliation? Frank and his being sorry?

13. Frank talking with Evelyn, giving her Diane’s thesis, explaining that Diane did not want him to give her the thesis or publish it until Evelyn’s death? His decision? Evelyn looking at the thesis, the box of notes? Her weeping? The final decision, ringing the maths professor at MIT?

14. The audience seeing Mary in her class, with the adults, studying and the formulae? At home, a child again, with Roberta and Frank?

15. Interesting reflections on how to deal appropriately with a child genius, fostering abilities while developing an authentic person?