out of 4
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The Emperor's Club
Starring: Kevin Kline, Rob Morrow|
Director: Michael Hoffman
RunTime: 108 Minutes
Release Date: November 2002
Review by Dustin Putman
2 stars out of 4
It is not merely coincidence that "The Emperor's Club" bears more
than a passing resemblance to a wave of other films from the "teachers-are-great"
genre, such as 1989's "Dead Poet's Society" and 1995's "Mr. Holland's
Opus." Trite, colorless, and as generic as it sounds for the first
90 minutes, it isn't until the unconventionally ruminative climax
that director Michael Hoffman (1999's "A Midsummer Night's Dream")
exposes a master plan that does, indeed, sway from the usual path.
He waits too long, unfortunately. By the time "The Emperor's Club"
finally decides to be a little different from the thirty other movies
about inspirational teachers, the damage has already been done.
Divided into two section, one set in the mid-1970s and the other in
the present day, the film spends too little time developing the characters
in the past to warrant the emotional payoff it yearns for in the latter
hour. The result is an uneven and, for the most part, ineffective
109 minutes. The picture is based on the short story, "The Palace
Thief," by Ethan Canin, which may play a part in why it often feels
both drug out and annoyingly undernourished.
For nearly three decades, William Hundert (Kevin Kline) has been a
passionate and well-received professor of ancient history at St Benedict's,
a posh prep school where the children of high society parents attend.
Facing the possible culmination of his tenure and an upcoming reunion
with some past students, Hundert's mind wanders back twenty-five years,
to a time when he was faced with reporting the cheating of the rebellious
Sedgewick Bell (Emile Hirsch), or letting it silently slide because
he liked him. At another point, Hundert fudges grade results simply
to get Sedgewick into the top three finalists of an annual Greek history
competition. Despite his dishonesty, Hundert does what he does in
an attempt to better the fortune of Sedgewick, whom he believes has
real potential in his future. Whether Sedgewick does or not, and whether
Hundert was successful in guiding him, will only be answered with
the impending arrival of the now-43-year-old Sedgewick.
"The Emperor's Club" is deceptive in the way it is set up to be about
the relationship between Hundert and his students, circa the 1970s,
and then anticlimactically rushes forward in time before the first
hour is barely up. This jarring switch in time periods is both unsatisfying
and unconvincing, not only because both respective eras are poorly
orchestrated, but because the movie is always desperate to find a
dramatic center that only arrives with the last ten minutes. Until
this point, director Michael Hoffman and screenwriter Neil Tolkin
(whose only major credits thus far are, tellingly, 1994's "Richie
Rich" and 1995's Pauly Shore vehicle "Jury Duty") are only too eager
to bide their time with one predictable and drearily cliched situation
after the next. The romantic subplot between William and fellow teacher
Elizabeth (a woefully wasted Embeth Davidtz) is so embarrassingly
insubstantial that it should have been cut from the movie early on.
"The Emperor's Club" finally locates a reason for its existence in
the thoughtful denouement, and there is an unexpected poignancy in
hearing Hundert admit to one of his former students that he "failed"
him as a teacher. Ultimately, it's too little, too late. "The Emperor's
Club" meanders along for so long that its late change of pace is refreshing,
but also frustrating, because it shows a promise the rest of the film failed to observe.
Copyright © 2002 Dustin Putman
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