resisting it and not fighting it..
Colangelo has a very tricky and hard (hard isn’t something we usually get) tale to tell. The focused subject isn’t aware of the potential and the one (the kindergarten teacher) setting up the stage does. The rawness that subject has, has to be kept alive and yet should be explained the “yes” and “no”s of the world. Now, the teacher has to walk a thin line on elaborating and sculpting this entire phenomenon to the subject, which she does in a very subtle way.
And Colangelo has a much more thinner line where she has to explain this entire communication in the most simplistic way. And on that note, it is a triumph on a cinematic level. But what drags down this magical act, is the cultural semantics that it feels somehow obliged to follow. If we sweep of that semantics, there lies a sensational and moving poem ready to change our views. Amidst all those poems recited by the student, wait for Gyllenhaal’s rhymes; you are mesmerized and in awe of the specificity of it.
It undoubtedly is utterly metaphorical to the core. The side characters are mere pawn and the primary ones are bots that we revolve around. Colangelo has got one more thing aptly on mark. Her characters are three dimensional. They are more humane, they are flawed, they are ethically wrong and they are brooding mistakes and reminiscing about the already made ones. The narration is layered and adaptive, but it isn’t gripping since it finds itself busy on building up for the upcoming sequences to a point where you may think that she forget that it is being watched.
Nevertheless, the pragmatic conversation, higher concept that it fiddles with, riveting poems and Colangelo’s passion keeps you tangled in this innocent bubble. The supporting cast has done a decent work, although nothing outstanding. Gyllenhaal’s stellar performance is what purely the feature relies upon on terms of execution. She fuels this entire act by resisting it and not fighting it. She understands the repercussion, she understands the obviousness, and writes an honest poem on screen to be read. The way she looks at his student can be iterated as a gist of the tale. That overwhelming dose that she is going through is what’s foliated by Colangelo through her direction, which she does succeed on.
The process is rudimentary, the structure is familiar and the lucid interpretation of the intentions in its initial stage, shucks away the concept’s integrity; it may feel like such a brilliant idea is taken for granted in here. The range of the script is surprisingly wider, it soothes and heals you with its poem and fabrication of it but it also keeps you on the edge of the seat where you are immensely worried about the characters; we are practically scared. The Kindergarten Teacher is a lesson to be learnt by the viewers and by the makers, this edgy tale should not be pushed, not the characters, not the semantics.