THE PUBLIC
US, 2017, 120 minutes, Colour.
Emilio Estevez, Jena Malone, Alec Baldwin, Christian Slater, Taylor Schilling, Jeffrey Wright, Gabrielle Union. Michael Kenneth Williams, Richard T. Jones.
Directed by Emilio Estevez.
Have you ever been criticised for being a “bleeding heart�, or find someone mocking you, slinging off, for taking up causes and expressing compassion? If so, this is definitely a film for you. On the other hand, if you are critical of bleeding hearts, if somebody suggests that you are “heartless�, this is probably a film that you should avoid – although the Cincinnati prosecutor played by Christian Slater who is proud to be heartless, campaigning to become mayor on law and order issues, eliminating crime from the streets, might prove something of a mirror/challenge.
The title indicates that this is about the range of ordinary people. More specifically, it is a reference to the Public Library in the city of Cincinnati, a haven for those who want to read, for those who want to go online, a refuge for many of the homeless people who form a kind of sub- community there, using bathroom facilities, going online, going inside to keep warm on wintry Ohio days.
The film has been written and directed by Emilio Estevez who is probably best remembered by older audiences as being one of The Breakfast Club. He is not a prolific film director but, his films in the last 15 years or so include Bobby, a film about the assassination of Robert Kennedy, and The Way, the film he directed about the Camino starring his father, Martin Sheen (a long-time social activist who would be very proud of his son for this film and its themes).
Action takes place over a couple of days, record lows in temperature in Cincinnati. We are introduced to Stuart Goodson (now that’s a symbolic name) one of the librarians (Emilio Estevez himself) – and learn more about him and his previous years on the streets – who lives alone, is friendly with his landlady, Angela (Taylor Schilling), and co-worker, Myra (Jena Malone). We also see him mixing with the range of mainly homeless men, friendly but reticent. His boss, Jeffrey Wright, summons him to warn that he and a fellow worker are to be sued by a homeless man because they asked him to leave the library after many complaints about his smell. The city prosecutor is, as mentioned, Christian Slater, sure and smug running, from mayor against a local black pastor.
So, where is this taking us? To a situation in the library which serves as a fable for concern about those in need and whether the heart should bleed or not.
In fact, a lot of the clientele want to stay in the library because there are not enough shelters around the city. They are to be ousted but they decide to barricade the doors, Stuart and Myra still inside, the media turning up thinking that it is a violent hostage situation, the chief police negotiator (Alec Baldwin) who is on leave to try to find his drug-addicted son, taking command of the situation, calling police reinforcements…
On the one hand, there is plenty to appeal to our bleeding hearts as we empathise and try to work out what we would do in a similar situation. On the other hand, there is a critique of hard hearts, of television anchors wanting to get scoops and ignoring the truth.
In case we should find ourselves in a similar situation, the ending of the film provides quite an original solution as to how to bring the situation to a peaceful end – one might say it forces the authorities to face some bare facts!
In an era where homelessness is becoming more prevalent even in prosperous cities and countries, where cerebral consideration of economic situations and budgeting debate seem more important than stressful realities, here is a humane film which can be proud of its bleedingheartedness.
1. The title? The general public of the city? The Public Library and its symbolism?
2. The setting in Cincinnati, an American city – but universal experience and message?
3. Locations, winter, the cityscapes, the streets, the river, the library and its interiors, offices, police precincts, television crews in the streets? The musical score?
4. Emilio Estevez as writer and director, his perspective, social justice and concern, compassion, protest?
5. The library, the polar bear in the foyer, the vast space, different floors, books and shelves, computers and tests, staff offices, the security?
6. Stuart Goodson, in himself, age and experience, going to work, with the staff, the security, working with Myra and their discussions, repartee? His love of books, their saving his life? Anderson as the superior? Summoned to the office, the issue of the library being sued? Josh Davis as solicitor? His stances, criticisms, getting the information, irritated with Stuart? The amount of money, the issue, the homeless man and the complaints about his smell, his being asked to leave? The later settlement out of court?
7. Stuart arriving, the men in the toilet, washing and shaving, the group and their friendliness, banter, historical information, Hail, Caesar! George and the discussions with Stuart, the other men, their military experience, the silent man and his theory of his laser eyes and killing people? Stuart later giving him the glasses to wear and his seeing normally? The library as the refuge for the men, reading, work at the computers, the cantankerous old lady?
8. Stuart at home, the repairs, Angela and her visit, their discussions, bonding?
9. An ordinary day at the library in the cold of winter? The routines?
10. Officer Ramstead, his asking the chief for leave, his addicted son, the scenes with his wife, their searching for their son? His being called in as a negotiator, the siege in the library, his attitudes, giving Stuart the photo of his son, the irony of the son being inside, causing all kinds of difficulties and upsets? The police arriving, father and son being reunited? Stuart’s role?
11. The issue of the election for mayor, the pastor, African- American, providing food and shelter? The contrast with Josh Davis, looking at his commercials, looking at his image, his stances, Law and Order, crime? Right-wing and authority?
12. The end of the day, the cold outside, the few shelters around the city, the crowd of people inside, the decision to stay? The pressure on Stuart? The pressure on Myra, her eventually getting out, phoning her mother, meeting Angela? Anderson and his watching?
13. The barricades, moving the shelves, the pleasant atmosphere with the company, the pizza man arriving, justifying himself, the sharing of the pizza?
14. The security, watching on the screens, Angela and the phone calls, Stuart taking the photos and videos, sending them to Angela, her going to the television anchor?
15. The media, the anchor and her ambitions, exploiting the situation, sensationalising, drawing conclusions? Angela giving her the film, her displaying it, the phone call with Stuart and her not understanding him, his quoting The Grapes of Wrath and the women telling her off? Her later
change of heart?
16. Josh Davis, present, urging on the police, law and order, intolerant? Stuart asking him to lie in the cold for five minutes? The interactions with the negotiator? His being in two minds?
17. Anderson, his role as authority, his deciding to join the group, sharing with them?
18. The police arriving, ready, the negotiations? Stuart and his idea, everybody getting naked, lining up, the opening of the door, no weapons, everybody rounded up, the bus, including Anderson? Myra and Angela and their support?
19. A message film, compassion film, social concern – for bleeding hearts, criticisms of bleeding hearts?
