John Singleton’s 1995 film, Higher Learning, aimed to tackle complex issues of race, identity, and social dynamics on a college campus. However, rather than offering insightful commentary, the movie often resorts to heavy-handed stereotypes and an unrealistic portrayal of racial tensions. This critique will delve into the film’s shortcomings, particularly its depiction of characters and its over-the-top narrative, echoing sentiments that Higher Learning falls short of genuine enlightenment and instead leans heavily on cliché.
One of the most glaring issues with Higher Learning is its reliance on stereotypical characterizations, particularly concerning race. The film presents a simplistic dichotomy where white characters are frequently depicted as either villainous or weak. Examples abound: the racist campus security, the predatory white jock, and the ineffectual white hippy, all contribute to a narrative where whiteness is associated with negativity. Even the Jewish roommate, portrayed as cowardly, seems to reinforce a negative stereotype. The Nazi skinheads, presented as cartoonishly evil, feel like an exaggerated threat, especially in the context of a college campus setting. The movie implies a pervasive and overt racism from white individuals, pushing a narrative that feels forced and lacking nuance.
Conversely, black characters in Higher Learning are often idealized or positioned as victims. We see the wise professor (Laurence Fishburne), the assertive and strong black female character, the street-smart Ice Cube persona, and the protagonist Malik, who embarks on a journey of self-discovery within a supposedly hostile “white man’s world.” Tyra Banks’ character, depicted as intelligent but ultimately victimized, further reinforces this dynamic. Even Busta Rhymes’ character is presented as physically dominant, easily overpowering the stereotypical skinheads. This stark contrast in character portrayals suggests a bias, where black characters are inherently virtuous and white characters are inherently flawed or malicious.
The narrative of Higher Learning often feels contrived and unrealistic. The original reviewer sarcastically suggests the title should be shortened to “High,” implying that one must be under the influence to find the movie enlightening. This sentiment highlights the film’s dramatic excesses and preachy tone. The idea that liquor stores and gun stores are deliberately placed in black neighborhoods to promote self-destruction, as suggested in Boyz In The Hood (another Singleton film mentioned in the original review), is presented as profound wisdom. Similarly, the conflicts and confrontations in Higher Learning often lack subtlety, opting for sensationalism over genuine exploration of racial issues. The film’s attempt to address serious topics is undermined by its reliance on over-the-top scenarios and predictable character arcs.
In conclusion, Higher Learning (1995) presents a distorted and stereotypical view of race relations. While aiming to be a thought-provoking commentary on campus life and racial identity, the movie ultimately succumbs to cliché and biased portrayals. The film’s exaggerated characters and unrealistic narrative detract from any potential for meaningful dialogue, leaving viewers with a sense of forced drama rather than genuine insight. For those seeking a nuanced understanding of race and higher education, Higher Learning unfortunately misses the mark, offering a simplistic and ultimately unconvincing perspective.
