Passing the test
How to cheat in the Leaving Certificate
``The Education system is a murder machine, killing
young minds'': these words by Patrick Pearse have
particular relevance to the subject of this film. How
to cheat in the Leaving Certificate is an irreverent
and rebellious diatribe against the Irish education
system.
24 year old director Graham Jones and co-conspirator
Tadhg O'Higgins penned an excellently duplicit
screenplay. The hazardous concoction of mischievous
comedy and the austerely depressing theme of student
suicide were somehow combined in a fully functioning
and complimentary relationship. Although there are many
belly-laughs in the film, the fundamental message is
not lost. In essence, the education system has failed,
intimidated and often depravated many young people and
a considered overhaul of the status-quo must occur.
The film is about a group of young people who decide to
avenge a young man who committed suicide because of his
hopelessness at the daunting task of a life-or-failure
examination.
Although some of the acting is amateurish, Aileen
O'Connor as Cara and Alison Coffey as Elli display
potential. Overall the acting succeeds in carrying the
theme and showing the idealism behind the tenacious
task undertaken.
The addition of cameos from familiar Irish stars in
obscure and unpredictable roles also contributes to the
film's success. Chris De Burgh as a petrol pump
attendant is particularly funny when pondering that
Athlone (the location of the Leaving Cert examination
paper's warehouse) may be the centre of the Universe.
However, possibly the most comedic cameo is reserved
for Mr. Pussy as an examination superintendent.
The camerawork and soundtrack are also surprisingly
good, especially considering the modest budget. Music
contributes brilliantly to the differing moods as does
the contemplative black and white format.
This is a film which successfully challenges the
authority and integrity of our educational system and
unashamedly encourages sabotage and rebellion. Well
worth seeing.
By Michael Pierse
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