The film tells the story of two brothers whose lives have been defined by racism. Derek (Edward Norton) is a former skinhead who has just been released from prison after serving three years for manslaughter (gruesome, hate-driven manslaughter). After years as the de facto leader of Venice, California's White Power sect, he has emerged with a full head of hair and a completely different outlook on humanity. His younger brother Danny (Edward Furlong) idolizes the imposing deity of white supremacy that Derek once was and now lives his life as a hateful mirror of that persona. When Derek re-enters Danny's life with a conflicting influence, the film examines the culture shock of the new Derek's presence in his old environment and the ramifications of Derek's choices on the life of his brother.
Any film structured as a 'reformed criminal returns home' automatically faces obstacles. American History X works at an even higher difficulty level because it must provide the back story for who Derek is while simultaneously increasing the tension in the present tense, as Derek rejects his racist associates and Danny attempts to come to terms with who Derek was, who he is, and what that means for Danny's own life. The interweaving of past and present is one of the most compelling elements in the film; stylistically, director Tony Kaye employs a beautiful black and white photography for scenes from the past, and traditional color for present day sequences -- a bold and ironic stroke in a film about race, but one that is highly effective, if for no other reason than Kaye (who shot the film himself) creates vivid images in both film stocks, imbuing each frame with a skewed, off-kilter tension that slowly builds as the film progresses.
The film's storytelling is equally powerful, though it faces its own difficulties. American History X is thick with content -- there is a lot to take in to understand who these characters are and what their place in the world of race truly is. And in a film running just under two hours, even with the undeniable visual skills of Tony Kaye, the inherent time crunch dictates that the film 'tell' more than it 'shows.' But what it 'tells' is powerful and true, and when it 'shows,' it is breathtakingly moving.
It is hard, in spite of all the fabulous work Kaye does, to avoid coming across preachy in a film structured such as this. But there is far more gravity to this material -- Derek is a sinner, and in many ways no amount of proselytizing can truly atone for the crimes he committed not just against ethnic minorities but against his family. He doesn't come out of prison with a hopeful message, and his former pals wouldn't be receptive to one, anyway; he is merely a loner who emerged from a racist coma. For Danny, who not only looks up to his brother but has a catalogue of shared experiences, there is hope -- but it could still be too late.
Race is one of the most controversial and challenging subjects for any art form to explore. We certainly are all in this together, a melting pot of individuals all looking for independence, for love, for happiness, for life. American History X is extraordinary beyond its imperfections because it recognizes that fact and acutely exposes the tragedy and the tyranny of racism in American culture -- and in American families.
