McKenna wrote the script based on his own childhood and experiences of growing up in San Diego. He sold the script to New Line Cinema, which was impressed by the writing. American History X was Kaye's first directorial role in a feature film. Budgeted at $20 million, filming took place in 1997. Before the film's release, Kaye and the film studio were in disagreements about the final cut of the film, which Norton had played a pivotal role in conceiving. The final version was longer than Kaye intended, which resulted in him publicly disowning the film, thus negatively affecting his directing career.
Distributed by New Line Cinema, the film was released in the United States on October 30, 1998 in limited theaters and received a wide theatrical release on November 20, 1998, grossing $23.9 million against a $20 million budget. American History X was critically praised, with Norton and Furlong's performances and the film's message drawing acclaim. Norton received an Academy Award nomination for Best Actor. The film has also been used for educational purposes in the United States and in other countries. A follow-up, African History Y, with Kaye returning as director and starring Djimon Hounsou, was in active development as of 2020.[2]
Plot
Danny Vinyard antagonizes his Jewish history teacher Murray by writing an essay on Mein Kampf. As a result, African-American principal and outreach worker Dr. Bob Sweeney forces him to study history directly under him through current events, "American History X," or be expelled. Danny must write a paper on his older brother Derek, Sweeney's former student and neo-Nazi leader, whose prison release is that day.
Years earlier, Danny and Derek's firefighter father was shot and killed by a black drug dealer while extinguishing a fire at their home. Immediately afterwards, Derek erupts in a televised, racially motivated tirade. High-profile neo-Nazi Cameron Alexander becomes his mentor and they form a violent white supremacist gang called the Disciples of Christ (D.O.C.) in Venice Beach.
A skilled basketball player, Derek defeats several Crips members, winning control of the local ball courts. Later, he organizes an attack on an Asian-owned supermarket employing black people and illegal immigrants.
Derek's mother Doris invites Murray, her then boyfriend, to dinner where an argument about Rodney King and the 1992 Los Angeles riots ensues. Derek assaults his sister Davina and openly berates Murray, causing Doris to banish Derek.
That night, several Crips members, whom Derek had defeated on the basketball court, attempt to steal his truck. When Danny alerts him, he kills two of them, one with a bullet and the other, by curb stomping him in front of Danny. He is arrested and sentenced to three years in the California Institution for Men for voluntary manslaughter.
In prison, Derek joins the Aryan Brotherhood and befriends black inmate Lamont, who was assigned as his workmate in the prison laundry. Disillusioned by prison gang politics, Derek learns the Aryan Brotherhood is buying drugs from the Mexican Mafia and then selling to other White inmates. Derek realizes they are a criminal gang using Neo-Nazism and white supremacy as a façade and he loses his belief even further when nobody from the D.O.C. visits him. He ultimately abandons the Aryan Brotherhood, who then beat and gang rape him in the communal shower.
Derek is visited in the hospital wing by Sweeney, with whom he pleads for help to get out of prison. Sweeney rebukes him for wanting to avoid dealing with the consequences of his actions, revealing his own racist past and warning that Danny has joined the D.O.C. to follow in Derek's footsteps. After recovering and leaving the hospital wing, Derek publicly snubs the Aryan Brotherhood and Lamont warns that he will be murdered by African-American inmates as the Brotherhood no longer protects him. No attack ever comes, though, and, upon his release, Derek thanks Lamont for intervening on his behalf.
Returning home, Derek finds Danny sporting a D.O.C. tattoo and becoming a skinhead. When Derek tries to persuade him to leave the gang, Danny feels betrayed. Derek's best friend Seth, also a D.O.C. member, frequently disrespects Derek's mother and sister while grooming Danny for the group; Cameron controls Seth and Danny closely.
At a D.O.C. compound party, Derek confronts Cameron for using, then abandoning him for three years. He declares his departure from the group and refusal to allow them to use Danny similarly. When mocked, Derek brutally beats Cameron. Seth and the others, including Derek's ex-girlfriend Stacey, attack Derek. Seth pulls a gun, but Derek easily disarms him and holds everyone at gunpoint before fleeing, tossing the gun into a nearby bin.
Danny finds Derek and angrily confronts him over his actions. So, Derek tells him about his experience in prison, which seems to prompt a change in him. They return home and remove racist posters from their shared bedroom. The next morning, Danny completes his paper, reflecting on why he adopted neo-Nazi values from Derek, who most likely adopted them from their father, as shown in a flashback.
Derek walks Danny to school, stopping at a diner. Sweeney and a police officer inform him that Seth and Cameron were attacked the night before and are in an intensive care unit. He denies knowing anything but reluctantly agrees to inspect the people he denounced.
Danny is shot dead in a bathroom by a Black student he had confronted the day before. Derek runs to the school, pushing past crowds, police, and tape to find Danny's bloodied corpse. He cradles Danny's body in hysterics, blaming himself for influencing his views and actions. In a voiceover, Danny reads the final lines of his paper for Dr. Sweeney, quoting the final stanza of Abraham Lincoln's first inaugural address.
Michael De Luca, former production president at New Line Cinema
Screenwriter David McKenna wrote the screenplay for American History X and sold the rights to New Line Cinema when he was 26.[3] The inspiration for the story came from the punk-rock scene of McKenna's childhood, where he often witnessed violent behavior. "I saw a lot of bigotry growing up, and it made me think about writing something about the world of hate-mongers. The point I tried to make in the script is that a person is not born a racist. It is learned through [the] environment and the people that surround you. The question that intrigued me is: why do people hate and how does one go about changing that? My premise was that hate starts in the family".[4] In order to make the characters as realistic as possible, McKenna interviewed and observed the behavior of skinheads during the writing process. He said "I had seen documentaries that just didn't ring true to me, and I wanted to write an accurate portrayal of how good kids from good families can get so terribly lost".[4]
Producer John Morrissey, who read the script three years prior, was impressed by the script's intense characters and dialogue. Michael De Luca, then-production president of New Line Cinema, said "I was intrigued by its intensity, conviction and brutal honesty. There was a brilliant character study woven into the screenplay, and I knew we had something special if we did it correctly".[4] In 1996, the producers first approached Dennis Hopper to direct the film.[5] Hopper turned down the offer, Larry Clark was approached to direct the film, but turned it down due to a scheduling conflict,[6]Tony Kaye was then approached to direct. Kaye, who had been De Luca's preferred choice from the beginning, accepted and made his directorial debut in a feature film on American History X. He took the contract to a synagogue, "I signed it in front of the rabbi. I thought it would make it good", Kaye said.[7] After the film was released, De Luca stated "It's everything I had hoped for. The performances are explosive and frightening, and the film dramatically demonstrates both the subtle and overt roots of racism while also showing the possibility for redemption".[4]
Casting
Joaquin Phoenix was offered the role of Derek Vinyard, but he was not interested.[8] After holding casting calls, Kaye was unable to find a suitable actor for the lead role, but casting director Valerie McCaffrey suggested Edward Norton.[9] Kaye initially objected, feeling that Norton lacked the "weight or presence", but he eventually conceded.[10][11] According to executive producerSteve Tisch, Norton's passion for the project was "contagious", and he even agreed to a pay cut of more than $500,000 from his usual $1 million fee, to be cast in the lead.[5][12] McCaffrey also cast Edward Furlong for the role of Danny Vinyard.[9] To prepare for the role, Norton increased his calorie intake and spent hours in the gym to gain 25 pounds (11kg) of muscle.[13][14]
Filming
I was attracted to the complexity of the role. This character travels so far within the course of the film. By the end, he's completely humanized and the audience might even be sympathetic, or at least, empathetic towards him. Derek is very much a guy whose anger and rage have superseded his intelligence. They have paralyzed his boundless potential. I liked the transformation that he goes through as his intelligence reasserts itself over his anger.
Principal photography took place in Los Angeles and Venice Beach, lasting for several months and finishing in May 1997.[5][15] Kaye served as cinematographer and camera operator, and would often silently walk around the set, scouting for camera angles or visuals.[5] During filming, Kaye established a casual environment for the cast and crew. He welcomed visitors on set, including singer Courtney Love, Norton's girlfriend at the time, and British historian John Richardson.[5] Kaye would arrive for work in a Lincoln Town Car with a chauffeur, and a license plate that read "JEWISH". He carried four cell phones and a fax machine, and during the Passover holidays, Kaye had boxes of matzo delivered to the set.[5] He also discovered at the time a newsletter published by a British political group, the National Front, which said he was a prominent Jew who supposedly controlled Britain's media.[5]
Both Furlong and Ethan Suplee found taking on their roles that had hateful views to be uncomfortable. Furlong said "It's pretty intense, having to say this incredibly hateful stuff".[5] The actors had "white power" tattoos painted on their arms, which Suplee forgot to remove one day after filming, and was confronted by a man in a convenience store.[5] Norton recalls "Doing that film created the strangest distortion of perception on me ... the degree to which that film and the magic of camera and art and black and white photography ... made a lot of people think that I was a larger and tougher person than I am".[14] The flashback scenes were edited to be in black-and-white, whereas the present-day scenes were edited to be in color.
Music
Kaye hired British composer Anne Dudley to score the film, and wanted the music to be "big and elegiac".[16] She employed a full orchestra and a boys' choir, and decided against using hip-hop sounds. She said, "The neo-Nazi faction is personified in the music by a boys choir – what could be a more Aryan sound? ... A calming string orchestra instead provides a much more expressive and timeless palette".[17]
No.
Title
Length
1.
"American History X"
4:46
2.
"The Assignment"
2:36
3.
"Venice Beach"
1:28
4.
"Playing to Win"
3:49
5.
"People Look at Me and See My Brother"
1:41
6.
"If I Had Testified"
4:05
7.
"A Stranger at My Table"
3:31
8.
"Putting Up a Flag"
2:06
9.
"Raiders"
3:02
10.
"Complications"
1:38
11.
"Starting to Remind Me of You"
1:43
12.
"The Right Questions"
3:24
13.
"The Path to Redemption"
2:56
14.
""We Are Not Enemies""
2:05
15.
"Two Brothers"
2:31
16.
"Storm Clouds Gathering"
2:04
17.
"Benedictus"
3:35
Total length:
47:00
Release
Kaye's original cut of the finished film had a run time of 95 minutes, which was delivered on time and within budget.[7][18] Although it generated a positive response from test screenings, New Line Cinema insisted on further edits to the film.[5] Kaye was mortified, saying "I'm fully aware that I'm a first-time director, but I need the same autonomy and respect that Stanley Kubrick gets".[7] Soon afterwards, Norton was involved with editing alongside Kaye, which was a difficult experience for the pair. At one point, Kaye punched a wall which resulted in stitches to his hand.[5][18]
In June 1998, the film studio test-screened a second cut of the film which included changes made by Norton. The studio tried to persuade Kaye to release Norton's cut, but he objected.[5] Although the differences between the two cuts are disputed, Kaye objected to an additional 18 minutes of footage, and they disagreed with the length of certain scenes such as a family argument, Norton's anti-immigration speech, and a flashback where Norton's father is criticizing a teacher.[5][7] Subsequently, the studio compromised and gave Kaye an extra eight weeks to edit and submit a new cut of the film.[7]
During this period, Kaye took a number of combative actions. He spent $100,000 on cryptic advertisements in the Hollywood press that quoted John Lennon and Abraham Lincoln, and condemned the behavior of Norton and the studio.[18] At one point, Kaye brought a priest, a rabbi and a Buddhist monk to a meeting with producers while videotaping the entire encounter. When the company offered him an additional eight weeks to re-cut the film, Kaye said he had a "radical" new vision in mind, which he did not know when he would finish. He collaborated with Nobel Prize-winning poet Derek Walcott on new narration for the film.[19]
American History X was due to premiere at the 1998 Toronto International Film Festival, but Kaye requested that organizer Piers Handling withdraw the film.[11] On July 28, 1998, after the eight week deadline, Kaye had nothing new to show and the studio announced that it would release Norton's cut. Kaye attempted to remove his name from the film credits, applying for various pseudonyms, including "Humpty Dumpty", a request that the Directors Guild of America (DGA) refused. Kaye subsequently filed a $200 million lawsuit against DGA and New Line Cinema, although the case was dismissed in 2000.[7][11][20] Kaye disowned the film, describing the released version, which was 24 minutes longer than his own cut, as a "total abuse of creativity" and "crammed with shots of everyone crying in each other's arms".[5][21] Kaye's behavior caused Hollywood to view him as unemployable, and he did not watch the film until June 2007.[7] He later admitted that "My ego got in the way. That was entirely my fault. [...] Whenever I can, I take the opportunity to apologize".[22] He did not direct another film until 2006's Lake of Fire.[23]
Home media
The film was released by New Line Home Video on DVD on April 6, 1999, on laserdisc on April 13, and on VHS on August 24 of the same year.[24][25] The film was later released on Blu-ray on April 7, 2009, including seven minutes of deleted scenes and a theatrical trailer.[26]
Reception
Box office
American History X premiered in Los Angeles on October 28, 1998, and on the same week in New York. It received a wider release in the United States on October 30.[27] The film grossed $156,076 in 17 theaters during its opening weekend. The film went on to gross $6,719,864 from 513 theaters in the United States, for a worldwide total of $23,875,127.[28]
Critical response
Edward Norton (pictured in 1997) received widespread critical acclaim for his performance, and was nominated for the Academy Award for Best Actor.
On Rotten Tomatoes, American History X has an approval rating of 84% based on 89 reviews, with an average rating of 7.3/10. The website's critical consensus reads, "American History X doesn't contend with its subject matter as fully as it could, but Edward Norton's performance gives this hard-hitting drama crucial weight."[29] On Metacritic, the film has a weighted score of 62 out of 100 based on 32 critic reviews, indicating "generally favorable reviews".[30] Audiences surveyed by CinemaScore gave the film a grade "A" on scale of A to F.[31]
Gene Siskel of the Chicago Tribune, gave American History X four out of four stars, describing it as "a shockingly powerful screed against racism that also manages to be so well performed and directed that it is entertaining as well", adding it was "also effective at demonstrating how hate is taught from one generation to another". He said Norton was an "immediate front-runner" for an Academy Award.[32]Todd McCarthy, writing for Variety, gave the film a positive review stating "This jolting, superbly acted film will draw serious-minded upscale viewers interested in cutting-edge fare". He particularly praised Norton's performance, saying "His Derek mesmerizes even as he repels, and the actor fully exposes the human being behind the tough poses and attitudinizing".[20]Janet Maslin of The New York Times wrote "Though its story elements are all too easily reduced to a simple outline, American History X has enough fiery acting and provocative bombast to make its impact felt. For one thing, its willingness to take on ugly political realities gives it a substantial raison d'être. For another, it has been directed with a mixture of handsome photo-realism and visceral punch".[33]
Film critic Roger Ebert gave the film three out of four stars, but was critical of the underdeveloped areas, stating "the movie never convincingly charts Derek's path to race hatred".[34] Ebert concluded "This is a good and powerful film. If I am dissatisfied, it is because it contains the promise of being more than it is".[34]Owen Gleiberman of Entertainment Weekly called the film "riveting", and praised the narrative structure despite "thinness of the script".[35]
Mick LaSalle of the San Francisco Chronicle expressed disappointment with the picture. LaSalle felt that while it succeeded in portraying Derek's descent into neo-Nazism, it failed to portray his renouncement of his past beliefs, "We had to watch him think his way in. We should see him think his way out". LaSalle also noted that "In some places the dialogue is surprisingly stilted. Far worse, the ending is a misfire". However, he complimented Norton's performance.[36]Stephen Hunter, writing for The Washington Post, was highly critical of the film and gave it a negative review, calling it "an old melodramatic formula hidden under pretentious TV-commercial-slick photography".[37] Michael O'Sullivan wrote "There are moments when Anne Dudley's string-laden score overpowers the stark simplicity of the film's message and other times when the moral of brotherly love is hammered a bit heavily", but conceded "the blunt and brutal American History X is ultimately only as imperfect as we ourselves are".[38]
Best Performance in a Feature Film: Supporting Young Actor
Edward Furlong
Nominated
Legacy
In 1999, Amnesty International USA used American History X for an educational campaign, screening the film in colleges and in nationwide events for raising awareness on human rights.[4][50] Zara Toussaint, of Amnesty International in France, organized screenings in her country followed by debates. "The reactions [to the film] were varied. Some people thought that this was only an extreme case, that this kind of group was very marginal and that there could be no equivalent in France", she said.[51] In response to the French screening, Sébastien Homer of L'Humanité wrote, "Police violence, the Rodney King affair, unsanitary prisons, ill-treatment, rejection of asylum seekers, the United States has still not assimilated what human rights, freedom, equality meant".[51] In September 1999, Empire magazine ranked the film 311th in a list of the 500 greatest movies of all time.[52] In 2008, Norton's performance was ranked by Total Film as the 72nd greatest film performance of all time.[53] Although director Kaye did not watch the film until 2007, he has acknowledged that it has become "quite a little classic in its own befuddled way".[7] In 2012, he said that he was "very proud of what we all achieved".[54]
For its 20th anniversary, Christopher Hooton writing for The Independent opined that the film "feels more essential now that it ever has".[18] Clayton Schuster of Vice drew comparisons between the film and both the racial rhetoric of Donald Trump and real life atrocities; the murders of nine African-Americans in a Charleston church in 2015, a far-right march in Charlottesville, Virginia in 2017, and a year later, a mass shooting in a Pittsburgh synagogue. He argues that these violent acts are no different to the hate represented in the movie, adding, "White supremacy has existed for centuries. It's lurked on the fringes of American power since the birth of this nation". He added "there is at least one notable difference ... The movie portrays skinheads as visually different ... They're suited up in boots with red laces, heads gleaming from a fresh shave, and tatted with Nazi insignia and racist slogans. White supremacists today have largely adopted a policy of fitting into society rather than standing out".[55] Writing for Esquire magazine in 2018, Justin Kirkland stated that he believed that "Perhaps the reason that American History X still feels so relevant two decades after its release is because we haven't done enough for it not to be ... I'm afraid we're going to be writing about American History X forever. I'm afraid of what will happen if we don't".[56]
Danny Kaye was an American actor, comedian, singer, and dancer. His performances featured physical comedy, idiosyncratic pantomimes, and rapid-fire novelty songs.
Edward Harrison Norton is an American actor and producer. After graduating from Yale College in 1991 with a degree in history, he worked for a few months in Japan before moving to Manhattan to pursue an acting career. He gained recognition and critical acclaim for his debut in Primal Fear (1996), which earned him a Golden Globe for Best Supporting Actor and an Academy Award nomination in the same category. His role as a redeemed neo-Nazi in American History X (1998) earned him an Academy Award nomination for Best Actor. He also starred in the film Fight Club (1999), which garnered a cult following.
"New queer cinema" is a term first coined by the academic B. Ruby Rich in Sight & Sound magazine in 1992 to define and describe a movement in queer-themed independent filmmaking in the early 1990s.
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Edward Walter Furlong is an American actor. He won Saturn and MTV Movie Awards for his breakthrough performance at age 13 as John Connor in James Cameron's 1991 science fiction action film Terminator 2: Judgment Day, which was followed by a mini-sequel, short attraction film T2-3D: Battle Across Time.
Beverly Heather D'Angelo is an American actress who starred as Ellen Griswold in the National Lampoon's Vacation films (1983–2015). She has appeared in over 60 films and was nominated for a Golden Globe Award for her role as Patsy Cline in Coal Miner's Daughter (1980), and for an Emmy Award for her role as Stella Kowalski in the TV film A Streetcar Named Desire (1984). D'Angelo's other film roles include Sheila Franklin in Hair (1979) and Doris Vinyard in American History X (1998).
William Russ is an American actor and television director. He played Alan Matthews on the sitcom Boy Meets World (1993–2000) and appeared in the television series Wiseguy, the soap operas Another World and The Young and the Restless and the feature films The Right Stuff (1983), Pastime (1990) and American History X (1998).
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On the Double is a 1961 comedy film, directed by Melville Shavelson, who also wrote the screenplay with Jack Rose. It stars Danny Kaye who plays, as in many of his films, two roles — in this case, an American soldier and a British General.
Tony Kaye is an English director of films, music videos, advertisements, and documentaries. He directed the 1998 film American History X.
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On the Riviera is a 1951 Technicolor musical comedy film made by 20th Century Fox. Directed by Walter Lang and produced by Sol C. Siegel from a screenplay by Valentine Davies and Phoebe and Henry Ephron, it is the studio's fourth film based on the 1934 play The Red Cat by Rudolph Lothar and Hans Adler. This version stars Danny Kaye, Gene Tierney and Corinne Calvet, with Marcel Dalio, Henri Letondal and Sig Ruman.
The Secret Life of Walter Mitty is a 1947 American Technicolor comedy film, loosely based on the 1939 short story of the same name by James Thurber. The film stars Danny Kaye as a young daydreaming proofreader for a magazine publishing firm and Virginia Mayo as the girl of his dreams. The film was adapted for the screen by Ken Englund, Everett Freeman, and Philip Rapp (uncredited), and directed by Norman Z. McLeod.
Original Film is an American film and television production company founded by Neal H. Moritz. Notable films the company has produced include the Fast & Furious franchise.
David McKenna is an American screenwriter and producer. He wrote the screenplays for American History X (1998), Blow (2001) and S.W.A.T. (2003). He is also a film professor at Columbia University and Barnard College.
Puppet Master: Axis of Evil is a 2010 American action horror film directed by David DeCoteau, it is the ninth official entry into the Puppet Master series of horror films.
Bride of Chucky is a 1998 American black comedy slasher film written by Don Mancini and directed by Ronny Yu. The fourth installment in the Child's Play franchise, it stars Jennifer Tilly, Brad Dourif, John Ritter, Katherine Heigl, and Nick Stabile. Unlike the first three films, Bride of Chucky takes a markedly humorous turn towards self-referential parody. It also departs from the Andy Barclay storyline of the first three films, focusing mainly on series villain Chucky, a doll possessed by a serial killer, and his former lover and accomplice Tiffany, whose soul is also transferred into a doll.
A curb stomp, also called curbing, curb checking, curb painting, or making someone bite the curb, is a form of grievous assault or attempted murder in which a victim's jaw is forcefully placed on a curb and then stomped from behind, causing severe injuries or death.
Edward Norton is an American actor and filmmaker. He made his film debut in the film Primal Fear (1996), for which he earned an Academy Award nomination for Best Supporting Actor and a Golden Globe Award in the same category. In the same year, he starred in two other films, The People vs. Larry Flynt and Everyone Says I Love You. In 1998, Norton featured in American History X, in which he played a neo-Nazi who served three years in prison and ultimately revamped his ideology. His performance was critically lauded and earned him an Academy Award nomination for Best Actor. For the David Fincher-directed film Fight Club (1999), Norton starred in a role that required him learning boxing, taekwondo and grappling. Though initially fiercely debated by critics, Fight Club gradually received critical reappraisal and earned its status as a cult film.
'Salem's Lot is a 2024 American supernatural horror film written and directed by Gary Dauberman, based on the 1975 novel by Stephen King. The film stars Lewis Pullman, Makenzie Leigh, Alfre Woodard, John Benjamin Hickey, Bill Camp, Jordan Preston Carter, Nicholas Crovetti, Spencer Treat Clark, William Sadler, and Pilou Asbæk. It is the first feature film adaptation of the book, preceded by miniseries versions from 1979 and 2004. The plot centers on a writer who returns to his hometown of Jerusalem's Lot in search of inspiration, only to discover the presence of a vampire.
1 2 McCarthy, Todd (October 22, 1998). "American History X". Variety. Archived from the original on April 7, 2020. Retrieved May 4, 2020. It is possible that some otherwise well-disposed critics may restrain their praise, even unwittingly, in knee-jerk sympathy with director Kaye, who disowns this cut and lost his bid to take his name off the picture.
Frauley, Jon (2010). "Subculture and American History X". Criminology, Deviance, and the Silver Screen: The Fictional Reality and the Criminological Imagination. Palgrave Macmillan. ISBN978-0-230-61516-8.
Roth, Luanne (Fall 2005). "Beyond Communitas: Cinematic food events and the negotiation of power, belonging, and exclusion". Western Folklore. 64 (3/4). OmniFile Full Text Select (H.W. Wilson): Western States Folklore Society: 163. ISSN0043-373X. OCLC5910334. The father's (William Russ) face turns sour and he sarcastically responds about "affirmative blacktion," "Now you gotta trade in great books for black books?"
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