The original French title of this Palme d’Or winner translates as ‘Between The Walls’ and there is no doubt Laurent Cantet’s film feels genuine claustrophobic; based on a novel by Francois Begeaudeau, which itself was based on his experiences as a teacher. Begeaudeau – not a trained actor – plays the teacher, M. Marin, and all the pupils are actual students, giving the film a far more realist feel as their improvisation and lack of polished acting techniques add to the chaotic atmosphere of the classroom.

Marin is the central character and, whilst his methods are unconventional and clearly treated with scepticism by other staff, he is far from a hero in the Robin Williams or Michelle Pfeiffer mould. Cantet consciously set out to avoid the tired story of teacher inspiring class to better things and, one suspects, that the pupils here would have worn down even Williams in the end.

The film is tragic as teacher and class attempt to find common ground, coming so close, but ultimately falling short. This is best portrayed through Marin’s relationship with the most interesting of the pupils, Souleymane. A bright but dangerously independent and hot-headed child, the first dual between them being when the pupil cheekily suggests that Marin is a homosexual. Relishing the chance to engage Souleymane in some light banter, the teacher challenges his reasons for the questioning. Later when Souleymane refuses to write anything but reveals a talent for photography, Marin helps him to add captions. We share the pride in the boy’s face as the photos are put on display – a breakthrough. But the connection is short-lived. Two class representatives report the content of a staff meeting to the class, ignoring the fact that Marin had been the sole teacher to attempt to justify Souleymane’s disruptive behaviour, and instead focussing on a throwaway comment that he was “limited”. Souleymane’s look of betrayal, contrasted with the earlier look of pride, is heartbreaking, and triggers a far more serious chain of events.

The sense of shattered trust in Souleymane is mirrored in Marin. Whilst his colleagues are happy to condemn pupils as out of hand and concentrate on more pressing issues- such as the cost of the coffee machine- his attempts to bring the children out of their shells and challenge them to fulfil their potential, are constantly interpreted as victimisation. The report of the staff meeting is the final straw and he descends to the pupils’ level, both figuratively and literally; naively insulting two girls, then venturing to the pupils’ playground to attempt to justify his words. There is a positive in that all of the pupils, despite simmering tensions between them, gang together in defence of the girls but the motivation behind it is the punishment of Marin.

The feeling that the pupils and the teacher are destined constantly to misunderstand each other, imprisoned in the stereotype that they are meant to fit, is palpably frustrating both for them and for us. Ultimately, a childish rant by one exasperated teacher and the latent jealousies amongst the staff show that they are not that much more mature than the kids. Meanwhile, the kids’ understanding of the potential consequences of Souleymane’s punishment and their willingness to show political awareness or to read classics when left to their own devices, show that they are not lacking in adult sensibilities. The film ends with a scene of hope, as staff and pupils take part in a good-natured football. But one cannot help but think that the match is more likely to end in tears.

[youtube]http://www.youtube.com/watch?v=Hy158dWdbpw[/youtube]

Trailer for The Class