A huge hit in Aotearoa New Zealand, this film follows a teacher who transforms an elite private school with music, masterfully performed by Anapela Polataivao.
Ah, yes: the inspirational high school movie! This formula is classic, but it remains relevant: an innovative teacher deeply inspires his students while restoring something broken within. These narratives view education as a "school of life" in which everyone, regardless of age or circumstance, is always in a state of learning and growth. The teacher's unconventional methods are inevitably challenged; various triumphs and tragedies arise. And in musical-themed productions, such as the Aotearoa New Zealand drama Tinā, the momentum builds toward a poignant final performance.
Director: Miki Magasiva
Writers: Miki Magasiva, Mario Gaoa
Stars: Anapela Polataivao, Antonia Robinson, Beulah Koale
Tonally, Miki Magasiva's film is less a School of Rock than Mr. Holland's Opus: stylistically conventional, and less intended to tug at the heartstrings than to deliver a real pull. There's no ambiguity in its script, which emphasizes its emotional messages and drops phrases that would make some screenwriters blush, such as "teaching is more than just educating" and "the longest journey always begins with the first step."
However, what underpins it all is a human spirit and a pure kindness that brings joy to life. While many viewers will realize, 30 or 40 minutes in, that they've already seen variations of this story, two main features provide substantial points of difference. One is a generous dose of enchanting traditional Samoan music. The other is a highly complex lead performance by Anapela Polataivao as Mareta, a straightforward Samoan teacher whose destiny is clear: to stand up to the system and leave a profound impression on her students.
The opening scenes present a tragic story: the protagonist's daughter dies during the 2011 Christchurch earthquakes. The story jumps forward three years with a despondent and still devastated Mareta, no longer teaching and receiving welfare benefits. A former classmate asks for her help, saying that schools are closing across the city, hinting at the emergence of a reluctant heroic narrative, in which the protagonist initially rejects the call to adventure before invariably accepting the challenge.
Perhaps surprisingly, Mareta takes a job at an elite private school, adding a vague element of class criticism. It isn't exploited much for social and political commentary: the aim is rather to present music as a tonic that revitalizes the soul, connecting people, cultures, and socioeconomic circumstances. The outgoing headmaster wonders if Mareta can "offer my children something different." And, of course, she does: this manifests itself primarily in the formation of a choir, something the smug school leaders aren't at all enthusiastic about. Precedents suggest the road ahead won't be easy: after all, Robin Williams was fired in Dead Poets Society; the arts department was cut in Mr. Holland's Opus; And Morgan Freeman even went to jail in Lean on Me.
Polataivao's commanding performance is the key element that cements Tinā. It's a constant source of intense drama, more restrained and subtle than the film itself. Her character is direct and straightforward, sour and worn by life, without the need for flattery or pretense, and yet, we can always sense warmth and caring within, yearning for an outlet. Sometimes, simple, character-driven moments lead to the most interesting cultural observations. When her colleagues encourage her to dress more formally, for example, the sensible protagonist responds, "Where I come from, this is formal."
Interestingly, for a story so focused on the formation of a high school choir, none of the teenagers struck me as deeply developed characters (though the film almost achieves that with Sophie, a struggling student, well played by Antonia Robinson). The same can be said of the supporting cast in general. It seems Tinā is so devoted to Mareta that she didn't have much time for the others. He is certainly a striking presence and a memorable addition to the film classroom.
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