My Bodyguard
Director: Tony Bill
Year: 1980
Some films are iconic unto themselves, though they can't reach that status without an audience to hail them as such. My Bodyguard is one of the seminal films of my youth, terrifying, delighting and making me laugh at once. The setup is familiar, with Clifford, a fish out of water (played by a very likable Chris Makepeace, who some may remember from a similar role in the camp classic, Meatballs) starts at a new high school. It's a public school in the heart of Chicago's south side and world away from his private school education up until this point. He makes the mistake of cracking a joke at the expense of schoolyard bully, Moody (done pitch perfectly by Matt Dillon). After this, he's on "the list" with Moody and his goons. The legend of another student named David Linderman (Alec Baldwin in a nicely nuanced role) lingers over the entire class. Students gossip incessantly about where he is since he's not in class, then shiver in terror when he finally arrives. While Moody runs the school with his bravado and henchmen, Linderman just wants to be left alone. Clifford recognizes the opportunity, however, to use Linderman and his legend to his advantage and protection.
What follows is a series of events that leads to a very touching story of friendship, class and learning how to stand up to the challenges one meets in life. It's not an all-time classic film, but it's an important inclusion into the films that tell the anguish of high school. It's particularly striking in an era of heightened awareness about bullying to see that the core ingredients were the same 34 years ago - only the tools with which people attack have changed.
There are many beautiful metaphors to look out for in the film, starting with the opening shot of Clifford on his bike riding along the lakeside in Chicago. He is a young man against a massive city backdrop, but seems in control. His father runs a snooty hotel with more charm than acumen at times, with a typical mid-manager after his job on one side and widowed mother with an overactive libido on the other. Clifford gets lost in the shuffle of his father's life, which feels very correct in the way it's presented. It's not that his dad is unloving or doesn't care, he just doesn't address the problem in a way to help his son (calling the principal, which leads to an uncomfortable conversation between Moody, the Principal and Clifford - not to mention the raising of the heat beneath Clifford's feet afterward). The hotel is a metaphor for Clifford, for while he is not wealthy, he moves amongst them and the workers with equal ease. Linderman, on the other hand, is symbolized by the motorcycle he rebuilds - strong, fast but missing a piece that Clifford finds for him. They make a formidable team - but by no means perfect. The film explores the challenges of class, friendship and painful secrets in a beautiful way.
Year: 1980
Some films are iconic unto themselves, though they can't reach that status without an audience to hail them as such. My Bodyguard is one of the seminal films of my youth, terrifying, delighting and making me laugh at once. The setup is familiar, with Clifford, a fish out of water (played by a very likable Chris Makepeace, who some may remember from a similar role in the camp classic, Meatballs) starts at a new high school. It's a public school in the heart of Chicago's south side and world away from his private school education up until this point. He makes the mistake of cracking a joke at the expense of schoolyard bully, Moody (done pitch perfectly by Matt Dillon). After this, he's on "the list" with Moody and his goons. The legend of another student named David Linderman (Alec Baldwin in a nicely nuanced role) lingers over the entire class. Students gossip incessantly about where he is since he's not in class, then shiver in terror when he finally arrives. While Moody runs the school with his bravado and henchmen, Linderman just wants to be left alone. Clifford recognizes the opportunity, however, to use Linderman and his legend to his advantage and protection.
What follows is a series of events that leads to a very touching story of friendship, class and learning how to stand up to the challenges one meets in life. It's not an all-time classic film, but it's an important inclusion into the films that tell the anguish of high school. It's particularly striking in an era of heightened awareness about bullying to see that the core ingredients were the same 34 years ago - only the tools with which people attack have changed.
There are many beautiful metaphors to look out for in the film, starting with the opening shot of Clifford on his bike riding along the lakeside in Chicago. He is a young man against a massive city backdrop, but seems in control. His father runs a snooty hotel with more charm than acumen at times, with a typical mid-manager after his job on one side and widowed mother with an overactive libido on the other. Clifford gets lost in the shuffle of his father's life, which feels very correct in the way it's presented. It's not that his dad is unloving or doesn't care, he just doesn't address the problem in a way to help his son (calling the principal, which leads to an uncomfortable conversation between Moody, the Principal and Clifford - not to mention the raising of the heat beneath Clifford's feet afterward). The hotel is a metaphor for Clifford, for while he is not wealthy, he moves amongst them and the workers with equal ease. Linderman, on the other hand, is symbolized by the motorcycle he rebuilds - strong, fast but missing a piece that Clifford finds for him. They make a formidable team - but by no means perfect. The film explores the challenges of class, friendship and painful secrets in a beautiful way.
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