American History X

Michael De Luca, former production president at New Line Cinema.

Screenwriter David McKenna wrote the screenplay for American History X and sold the rights to New Line Cinema when he was 26.[3] The inspiration for the story came from the punk-rock scene of McKenna's childhood, where he often witnessed violent behavior. "I saw a lot of bigotry growing up, and it made me think about writing something about the world of hate-mongers. The point I tried to make in the script is that a person is not born a racist. It is learned through [the] environment and the people that surround you. The question that intrigued me is: why do people hate and how does one go about changing that? My premise was that hate starts in the family".[4] In order to make the characters as realistic as possible, McKenna interviewed and observed the behavior of skinheads during the writing process. He said "I had seen documentaries that just didn't ring true to me, and I wanted to write an accurate portrayal of how good kids from good families can get so terribly lost".[4]

Producer John Morrissey, who read the script three years prior, was impressed by the script's intense characters and dialogue. Michael De Luca, then-production president of New Line Cinema, said "I was intrigued by its intensity, conviction and brutal honesty. There was a brilliant character study woven into the screenplay, and I knew we had something special if we did it correctly".[4] In 1996, the producers first approached Dennis Hopper to direct the film.[5] Hopper turned down the offer and Tony Kaye was then approached to direct. Kaye, who had been De Luca's preferred choice from the beginning, accepted and made his directorial debut in a feature film on American History X. He took the contract to a synagogue, "I signed it in front of the rabbi. I thought it would make it good", Kaye said.[6] After the film was released, De Luca stated "It's everything I had hoped for. The performances are explosive and frightening, and the film dramatically demonstrates both the subtle and overt roots of racism while also showing the possibility for redemption".[4]

Joaquin Phoenix was offered the role of Derek Vinyard but he refused the part.[7] After holding casting calls, Kaye was unable to find a suitable actor for the lead role, but casting director Valerie McCaffrey suggested Edward Norton.[8] Kaye initially objected, feeling that Norton lacked the "weight or presence", but he eventually conceded.[9][10] According to executive producer Steve Tisch, Norton's passion for the project was "contagious", and he even agreed to a pay cut of more than $500,000 from his usual $1 million fee, to be cast in the lead.[5][11] McCaffrey also cast Edward Furlong for the role of Danny Vinyard.[8] To prepare for the role, Norton increased his calorie intake and spent hours in the gym to gain 25 pounds (11 kg) of muscle.[12][13]

Principal photography took place in Los Angeles and Venice Beach, lasting for several months and finishing in May 1997.[5][14] Kaye served as cinematographer and camera operator, and would often silently walk around the set, scouting for camera angles or visuals.[5] During filming, Kaye established a casual environment for the cast and crew. He welcomed visitors on set, including singer Courtney Love, Norton's girlfriend at the time, and British historian John Richardson.[5] Kaye would arrive for work in a Lincoln Town Car with a chauffeur, and a license plate that read "JEWISH". He carried four cell phones and a fax machine, and during the Passover holidays, Kaye had boxes of matzo delivered to the set.[5] He also discovered at the time a newsletter published by a British political group, the National Front, which said he was a prominent Jew who supposedly controlled Britain's media.[5]

Both Furlong and Ethan Suplee found taking on their roles with hateful views to be uncomfortable. Furlong said "It's pretty intense, having to say this incredibly hateful stuff".[5] The actors had "white power" tattoos painted on their arms, which Suplee forgot to remove one day after filming, and was confronted by a man in a convenience store.[5] Norton recalls "Doing that film created the strangest distortion of perception on me ... the degree to which that film and the magic of camera and art and black and white photography ... made a lot of people think that I was a larger and tougher person than I am".[13] The flashback scenes were edited to be in black-and-white, whereas the present-day scenes were edited to be in color.

Kaye hired British composer Anne Dudley to score the film, and wanted the music to be "big and elegiac".[15] She employed a full orchestra and a boys' choir, and decided against using hip-hop sounds. She said, "The neo-Nazi faction is personified in the music by a boys choir – what could be a more Aryan sound? ... A calming string orchestra instead provides a much more expressive and timeless palette".[16]

The film was released by New Line Home Video on DVD on April 6, 1999, and on VHS on August 24 of the same year.[22][23] The film was later released on Blu-ray on April 7, 2009, including seven minutes of deleted scenes and a theatrical trailer.[24]

American History X premiered in Los Angeles on October 28, 1998, and on the same week in New York. It received a wider release in the United States on October 30.[25] The film grossed $156,076 in 17 theaters during its opening weekend. The film went on to gross $6,719,864 from 513 theaters in the United States, for a worldwide total of $23,875,127.[26]

Norton earned critical acclaim for his performance in the film (pictured in 2009).

On Rotten Tomatoes, American History X has an approval rating of 83% based on 87 reviews, with an average rating of 7.30/10. The website's critical consensus reads, "American History X doesn't contend with its subject matter as fully as it could, but Edward Norton's performance gives this hard-hitting drama crucial weight."[27] On Metacritic, the film has a weighted score of 62 out of 100 based on 32 critic reviews, indicating "generally favorable reviews".[28] Audiences surveyed by CinemaScore gave the film a grade "A" on scale of A to F.[29]

Gene Siskel of the Chicago Tribune, gave American History X four out of four stars, describing it as "a shockingly powerful screed against racism that also manages to be so well performed and directed that it is entertaining as well", adding it was "also effective at demonstrating how hate is taught from one generation to another". He said Norton was an "immediate front-runner" for an Academy Award.[30] Todd McCarthy, writing for Variety, gave the film a positive review stating "This jolting, superbly acted film will draw serious-minded upscale viewers interested in cutting-edge fare". He particularly praised Norton's performance, saying "His Derek mesmerizes even as he repels, and the actor fully exposes the human being behind the tough poses and attitudinizing".[18] Janet Maslin of The New York Times wrote "Though its story elements are all too easily reduced to a simple outline, American History X has enough fiery acting and provocative bombast to make its impact felt. For one thing, its willingness to take on ugly political realities gives it a substantial raison d'être. For another, it has been directed with a mixture of handsome photo-realism and visceral punch".[31]

Film critic Roger Ebert gave the film three out of four stars, but was critical of the underdeveloped areas, stating "the movie never convincingly charts Derek's path to race hatred".[32] Ebert concluded "This is a good and powerful film. If I am dissatisfied, it is because it contains the promise of being more than it is".[32] Owen Gleiberman of Entertainment Weekly called the film "riveting", and praised the narrative structure despite "thinness of the script".[33]

Mick LaSalle of the San Francisco Chronicle expressed disappointment in the film. LaSalle felt that while the film succeeded in portraying Derek's descent into neo-Nazism, it failed to portray his renouncement of his past beliefs, "We had to watch him think his way in. We should see him think his way out". LaSalle also noted that "In some places the dialogue is surprisingly stilted. Far worse, the ending is a misfire". However, he complimented Norton's performance.[34] Stephen Hunter, writing for The Washington Post, was highly critical of the film and gave it a negative review, calling it "an old melodramatic formula hidden under pretentious TV-commercial-slick photography".[35] Michael O’Sullivan wrote "There are moments when Anne Dudley's string-laden score overpowers the stark simplicity of the film's message and other times when the moral of brotherly love is hammered a bit heavily", but conceded "the blunt and brutal American History X is ultimately only as imperfect as we ourselves are".[36]

Edward Norton was nominated for an Academy Award for Best Actor for his role as Derek Vinyard, but lost to Roberto Benigni for Life Is Beautiful. Norton's loss was included on Empire's list of "22 Incredibly Shocking Oscars Injustices".[37]

In 1999, Amnesty International USA used American History X for an educational campaign, screening the film in colleges and in nationwide events for raising awareness on human rights.[4][48] Zara Toussaint, of Amnesty International in France, organized screenings in her country followed by debates. "The reactions [to the film] were varied. Some people thought that this was only an extreme case, that this kind of group was very marginal and that there could be no equivalent in France", she said.[49] In response to the French screening, Sébastien Homer of L'Humanité wrote, "Police violence, the Rodney King affair, unsanitary prisons, ill-treatment, rejection of asylum seekers, the United States has still not assimilated what human rights, freedom, equality meant".[49] In September 1999, Empire magazine ranked the film 311th in a list of the 500 greatest movies of all time.[50] In 2008, Norton's performance was ranked by Total Film as the 72nd greatest film performance of all time.[51] Although director Kaye did not watch the film until 2007, he has acknowledged that it has become "quite a little classic in its own befuddled way".[6] In 2012, he said that he was "very proud of what we all achieved".[52]

For the 20th anniversary of the film, Christopher Hooton writing for The Independent opined that the film "feels more essential now that it ever has".[17] Clayton Schuster of Vice drew comparisons between the film and real life atrocities; the murders of nine African-Americans in a Charleston church in 2015, a far-right march in Charlottesville, Virginia in 2017, and a year later, a mass shooting in a Pittsburgh synagogue. He argues that these violence acts are no different to the hate represented in the film, adding, "White supremacy has existed for centuries. It's lurked on the fringes of American power since the birth of this nation". He added "there is at least one notable difference ... The movie portrays skinheads as visually different ... They're suited up in boots with red laces, heads gleaming from a fresh shave, and tatted with Nazi insignia and racist slogans. White supremacists today have largely adopted a policy of fitting into society rather than standing out".[53] Writing for Esquire magazine in 2018, Justin Kirkland stated that he believed that "Perhaps the reason that American History X still feels so relevant two decades after its release is because we haven't done enough for it not to be ... I'm afraid we're going to be writing about American History X forever. I'm afraid of what will happen if we don't".[54]