You are on page 1of 1

American History X 1998 XviD DVDRip

[IMG]http://i8.photobucket.com/albums/a28/eckomega/AMX4.jpg[/IMG]
Director: Tony Kaye
Writer: David McKenna
Release Date: October 28, 1998
Runtime: 119 min
Genre: Crime, Drama
Language: English
Studio: New Line Home Video
[IMG]http://i8.photobucket.com/albums/a28/eckomega/AMX3.jpg[/IMG]
Video Info
Codec: XviD
Filetype: AVI
Fraterate:
Video Bitrate:
Audio Bitrate:
[IMG]http://i8.photobucket.com/albums/a28/eckomega/AMX2.jpg[/IMG]
Cast: Edward Norton, Edward Furlong, Beverly D'Angelo, Avery Brooks, Jennifer Li
en
[IMG]http://i8.photobucket.com/albums/a28/eckomega/AMX1.jpg[/IMG]
Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-no
minated performance in American History X nearly convinces you that there is a s
hred of logic in the tenets of white supremacy. If that statement doesn't horrif
y you, it should; Norton is so fully immersed in his role as a neo-Nazi skinhead
that his character's eloquent defense of racism is disturbingly persuasive--at
least on the surface. Looking lean and mean with a swastika tattoo and a mind fu
ll of hate, Derek Vinyard (Norton) has inherited racism from his father, and tha
t learning has been intensified through his service to Cameron (Stacy Keach), a
grown-up thug playing tyrant and teacher to a growing band of disenfranchised te
ens from Venice Beach, California, all hungry for an ideology that fuels their b
rooding alienation.
The film's basic message--that hate is learned and can be unlearned--is expresse
d through Derek's kid brother, Danny (Edward Furlong), whose sibling hero-worshi
p increases after Derek is imprisoned (or, in Danny's mind, martyred) for the ki
lling of two black men. Lacking Derek's gift of rebel rhetoric, Danny is easily
swayed into the violent, hateful lifestyle that Derek disowns during his thought
ful time in prison. Once released, Derek struggles to save his brother from a vi
olent fate, and American History X partially suffers from a mix of intense emoti
ons, awkward sentiment, and predictably inevitable plotting. And yet British dir
ector Tony Kaye (who would later protest against Norton's creative intervention
during post-production) manages to juggle these qualities--and a compelling clas
h of visual styles--to considerable effect. No matter how strained their collabo
ration may have been, both Kaye and Norton can be proud to have created a film t
hat addresses the issue of racism with dramatically forceful impact.

You might also like