MOVIE REVIEW : Probing the Darkness in ‘The Chocolate War’

“The Chocolate War” (AMC Century 14) is a first-rate adaptation of Robert Cormier’s dark, cautionary tale about personal freedom, as an idealistic freshman at a Catholic high school for boys unexpectedly defies the system and learns firsthand about the power of manipulation and intimidation.

Years from now, its haunting allegory may be best remembered as the directing debut of Keith Gordon. Although he has co-written and co-produced before (“Static”), Gordon’s primarily been known as an exceptional young actor (“Christine” “Dressed to Kill”). As “The Chocolate War” proves, he’s also a terrifyingly assured director.

The look of the film, its Shaker-like visual severity and the taut control that Gordon exercises is almost astringent. However, his work with his actors is anything but clinical; Gordon, who also adapted the story, has a lovely feeling for nuance and for ensemble.

Brother Leon (John Glover, splendidly malevolent), is not yet head of St. Trinity’s, one of the hubs of this Northwestern city, but he’s palpably close and hotly ambitious for the job. To cement his position as the acting chief administrator, he has come up with an unprecedented quota for the annual chocolate sale: The boys will have to sell twice as many chocolates at double the price of last year.

Almost equal in power to Brother Leon are the Vigils, the secret school club. As the film opens, a pair of the club’s officers, Archie (Wally Ward) and his assistant Obie (Doug Hutchison) sit alone above the football field, picking boys for Vigil “assignments,” excruciating secret tests of loyalty or stamina. It’s an almost surreal scene that reminds you of one of those “angels come to earth” sequences; however the manipulative Archie and the covertly ambitious Obie are anything but angels.

Jerry Renault (Ilan Mitchell-Smith), a smallish freshman whose tenacity at the football tryout catches Archie’s eye, receives one of these assignments. When every boy at St. Trinity’s routinely accepts his quota of chocolates, Jerry’s orders are to refuse; then, after the Vigil-created ban is over, to agree to take his 50 boxes.

Even in the face of Brother Leon’s most sardonic “persuasion”--a masterly display of bullying in which the priest’s cobra-quick changes of logic and mood terrorize the entire class--Jerry holds fast. He’s seen as a nut, then a menace, then as a symbol. Then something in Jerry snaps, almost audibly. Even after his Vigil time-frame is over, Jerry still refuses to sell the chocolates.

Systems work only as long as we let them. Jerry stands firm, a tangible threat to every side. In no time, the Vigils are fighting among themselves and with Brother Leon over absolute control of the school. And in the center is Jerry, thoughtful, resolute and wretched. (Mitchell-Smith gives a beautifully detailed performance.) He has virtually no support at home. His mother has died of cancer just as the school term begins, and his pharmacist-father sees Jerry through a miasma of mourning.

Significantly, the film doesn’t spell out Jerry’s reasons, but we can speculate that it’s in reaction to his father’s resignation and passivity. Only Goober (Corey Gunnestad), his best friend, gives Jerry any encouragement, and that’s wary at best, until Goober too begins to see the levels of corruption on which the school, that microcosm, operates.

Gordon mixes fantasy (not all of it completely successful), flash-forward and an eclectic range of music, from Yaz to Joan Armatrading to Peter Gabriel, to tell his story. It’s not the sort that sends audiences out inspired by the best in their fellow man. Goodness has a very hard time of it, even up through the film’s punishing ending. It’s not accidental that in granting the film rights to two of his songs, Peter Gabriel cites his support of human rights and of Amnesty International. Human rights are clearly at the heart of the darkness here.

However, even with its chilling message, “The Chocolate War” (MPAA-rated R) is a fascinating film done with style, with care and with excellence in every department, from the actors (Hutchison’s owlish Obie; Brent Fraser’s sleek, preternaturally experienced wise guy, Emile Janza, and a delightful moment by Bud Cort as Brother Jacques) to Tom Richmond’s beautiful camera work and David Ensley’s art direction, which is both witty and understated.

‘THE CHOCOLATE WAR’

A Management Company Entertainment Group, Inc, presentation of a Jonathan D. Krane production of a film by Keith Gordon. Producer Krane. Writer-director Gordon, based on the novel by Robert Cormier. Co-producer Simon R. Lewis. Editor Jeff Wishengrad.Camera Tom Richmond. Production design David Ensley. Line producer Ron Diamond. Associate producer Susan I. Spivak. With John Glover, Ilan Mitchell-Smith. Wally Ward, Dough Hutchinson, Corey Gunnestad, Brent Fraser, Robert Davenport, Bud Cort, Adam Baldwin, Jenny Wright.

Running time: 1 hour, 43 minutes.

MPAA-rated: R (under 17 requires accompanying parent or adult guardian).