The key to why Education is moving and goes deep into the core of what makes people get a leg up in life is that the Mother is just as important to the story as Kingsley. Matter of fact, though he seems to have more of the screen time at least in the first half, Mom has the arc and goes through her own education, and yet as misguided as she is early on there is sympathy. One (or at least I) may sense she dudnt grow up with things many of us (at least in the West) take for granted; late in the film, she finally in an act of possible desperation pulls out a book and tells Kingsley to read, and he bursts into tears because he... Cant get there.
Did she ever sit down to read to or with Kingsley when he was very little? Did she have the time as a constantly working mother? Dad wasn't going to do it (if there is a flaw it's that he is too one note, all he says is "come work with me and learn a trade," and sure, he doesn't know better either, but to a fault). This is me reading in-between the lines, and that's to McQueen's credit: the way he directs this and uses what I assume is grainy 16mm cinematography to be more intimate and closer to the subjects (this and Lover's Rock, the two Small Axes not based off true cases or people, look the most unique and charged with the pulse of light) and casts it so it feels immediate and raw and like we are immersed into this story. This is significant because a lessor filmmaker could take this same script and make it like an After-School Special. It's a "Message" at its core that is even more clearly stated than the other films in this anthology, but that's not an inherently wrong thing... If you're just honest about it.
What stuns me is that by the time we get to that "I can't read" breakdown (and sorry but I just have Mike Myers as Waybe Campbell crying and exclaiming he never leatned to read), it's beyond earned. The emotional work of a mother and son is powerful, thoughtful and the performers have the benefit of being faces (I assume) most of us haven't seen before. Is this McQueen doing Ken Loach? Maybe.
At the same time it's very much this artist throughout - the stand-out being a display of controlled, almost hazy cringe if that can be a thing where the kids in this "Special" school have to sit with this Bum (yes I mean that in the British way) awkwardly playing a guitar and doing his worst "House of the Rising Sun" and McQueen and the DP wander from bored to occasional wide-eyed face (what is the barking girl gonna do), and it displays one of the director's gifts of bending and sculpting time in a way where we feel it.
Putting aside the setting and the representation of people, it's a great gift to master, and Small Axe, which on the whole is only disappointing in that it isn't *quite* the high of what this most reminds me of in ambition and scope, Kieslowski's Dekalog (and I mean talk about problems we'd all love to have), is the work of an artist who understands how to challenge himself and challenge us to go for these highly political and deeply human sagas.
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