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Less a movie than a mosaic, this remake of the 1980 classic with the Oscar-winning title anthem about the high school for the performing arts has been re-imagined for the hyper-linked and just plain hyper 21st century. As in the original, we follow the stories of aspiring performers from their first audition through four years of high school. But this time, so many characters are thrown at us that we never connect with any of them. This film is as much an artifact of its era as the dancing-in-the-streets first one, perhaps in ways it did not intend. It is a revealing reflection of its target audience: kids used to keeping up to date via tweets and Facebook status lines, the generation that cannot see the line between access to information and understanding the information’s context and import.

It indicates more than it shows, not because it is subtle, but because it is frantic, trying to follow the lives of ten students over four years in less than two hours. Narrative is pushed to one side. Even the too-brief but excellent musical numbers are chopped up and intercut not so much as an artistic statement as a recognition that society as a whole now meets the clinical definition of ADD.

The talented cast passes by so quickly it is like watching a 107-minute trailer. Naturi Naughton makes a strong impression in vocal numbers that include “Out Here on My Own” from the 1980 film. Kay Panabaker has a sweet honesty that comes across well on screen and more than any of the others she shows us the difference in her character as she grows up and gains confidence. An exceptionally strong cast of adults adds some depth to the faculty roles, including “Will and Grace’s” Megan Mullally and “Frasier’s” Bebe Neuwirth and Kelsey Grammer along with movie and theater veteran Charles S. Dutton. If only they had been able to sit down writer Alison Burnett and director Kevin Tancharoen to give them the kind of stern pep talk about craft and discipline that they give to their students, this would have been a better movie.

Miep Gies was a brave woman who tried to hide Anne Frank and her family from the Nazis. After they were discovered, it was she who found Anne Frank’s diary and kept it, hoping to give it back to her one day. Anne died in a concentration camp, but Gies gave the diary to her father. It is now one of the most widely read books in the world: Anne Frank: The Diary of a Young Girl. Gies appears in Anne Frank Remembered and is portrayed by Pat Carroll in the best scene in Freedom Writers.

Here, in a Dutch interview (no translation, sorry), Gies shows the bookcase that hid the secret annex.

Her memory will continue to be an inspiration and a blessing.

There is not one single thing in this movie that you don’t see or guess from the trailer, but for some audiences that means that it will deliver just what they are looking for.

Alexis Bledel plays Ryden, who thinks the hard part is over because she is graduating from a good school with an excellent record and has lined up an interview for the job of her dreams at a publishing house. But she discovers that, as her father says, “the world doesn’t play by the rules.” Everything is messier and harder to control than she thought. She soon finds herself living back at home with her parents and going on an excruciating series of job interviews only to be subjected to an even more excruciating series of rejections. And to make it all worse, her rival at school (played with zesty mean-girl brio by Catherine Reitman) seems to have effortlessly taken over the life she thought she was supposed to have.

To add to the confusion, there is a handsome and devoted friend who wants to be more (“Friday Night Lights'” Zach Gilford), a handsome next door neighbor who is accomplished, sophisticated, and exotic (Rodrigo Santoro), and an assortment of quirky family problems from her assorted quirky family members.

The most creative part of the film may be the opening credits, as we watch Ryden’s vlog and she tells about her plans. After that, it’s pretty much by the book.

It’s nice to see Michael Keaton back on screen, and the always-watchable Jane Lynch makes the most of the underwritten role of Ryden’s mother. Carol Burnett lugs around an oxygen tank as the irascible grandmother, with her face oddly stretched and kind of spooky. At times the film’s disjointed, almost random moments help to make it feel less formulaic. Santiago and Reitman are more vivid and interesting than any of the main characters, throwing it all off-kilter. And then it takes a predictable, but retro turn that will leave audiences feeling unsatisfied and even cheated. The folks who made this movie need to go back to school and study a little harder.

I spoke to writer/director Scott Cooper, whose first film, Crazy Heart has been acclaimed for its authenticity, its captivating music, and a performance by Jeff Bridges that many people believe will bring him his long-deserved Oscar.

You must be thrilled with the reaction your film is getting.

Oh, Nell, for a first time writer/director who has never been to film school or directed a commercial or a rock video — I am over the moon. Not just the critical response, but the reaction from my colleagues who have sought me out and who really loved the film. It just means the world to me.

And it must be a special joy to see the response to the performance of Jeff Bridges as the lead character, country singer “Bad” Blake.

I wrote the role for Jeff, and once I finished the film and sent the script to Robert Duvall, I told him that there are two people I need to make this film happen. One is Jeff Bridges and the other is T. Bone Burnett. In my estimation, both Jeff and Duvall are America’s two finest screen actors and I was able fortunately to get those guys. But I don’t want to overlook Maggie [Gyllenhaal’s] fine work and Colin Farrell.

I’m glad you mentioned Farrell, because I thought he was extraordinary as Tommy Sweet, the big country star Bridges’ character had mentored on the way up.

When I cast the movie, Colin Farrell is not the obvious choice. He looks like a movie star but he is really a character actor. He is a very humble guy. I felt like he’s the kind of guy who would support Jeff Bridges and Robert Duvall. And in such a short time on screen he gives such a nuanced, masterful performance, and he has a beautiful singing voice. It just was inspired all the way around. I wanted to design it so that you were set up to dislike his character and then he is humble and gracious and owes everything to this elder statesman and it all comes through.

One thing I respected about the film is what you left out — a lot of people would have put in a rehab montage and the usual scenes to make us feel we see all the details but you suggested them and then left it alone.

I think it is important that we realize this man is on a road to redemption. We all see redemption. We all are flawed individuals. The themes of hope and regret and loss, all of those course through this movie and course through our daily lives and course through the great country songs. So all humans who see this and suffer through the human condition will understand this.

So you’re a fan of country music?

Oh, I am! I literally cut my teeth in the Blue Ridge mountains of Virginia going to really great blue grass festivals in Virginia with my parents and then I segued to my father’s LP collection — Waylon and Cash and Haggard and Kristofferson. I loved that these guys wrote about their life experiences. So I was very well steeped in these songs and it was very personal to me. I hope that country music listeners will enjoy the picture and find a little bit of themselves in these characters and relate to it.

I wanted the pacing of the film, the look of the film, everything to have the feeling of an old George Jones song, “He Stopped Loving Her Today.” You have to really listen closely and let the song develop. It has a third less cuts than most films, a more languid pace.

So if you didn’t go to film school, did you watch a lot of movies and study them on your own?

I watched a lot of films from the 1970’s, my favorite decade of American film, and I would watch with the sound off, so I could see how they would move the camera, how they would tell the story through performance and lens selection. I would watch the greats like Terrence Malick, with “Days of Heaven” or “Badlands” or Robert Altman, Peter Bogdanovich, Coppola, all those guys. And film-makers of today, Sean Penn, Robert Duvall, Ed Harris, Billy Bob Thornton, guys who are complete film-makers, actors and writers and directors.

You said you could not do the movie without T. Bone Burnett. What does he bring to the movie?

He really is peerless in his Americana roots genre. He understands behavior, he understands characterization, he understands the un-obvious and he understood the alternate universe I wanted to create, one part Willie, one part Waylon and Kris, some Merele and Townes Van Zandt, Billy Joe Shaver. He could do that and bring it into this fictional character. He’s just a master at what he does. I told him we have to have a narrative thread through the course of this movie that him write a song over the course of this movie that helps him rediscover his artistry and helps him rediscover who he is as a person. Then we had Ryan Bingham, a young man who in my opinion is the heir apparent to Hank Williams, and he came in with “The Weary Kind” because that’s who Bad Blake is, he is a weary individual. It captures all the themes that I wanted and it’s a stunning, stunning song. It’s a part of the fabric of the film.

What inspires you?

My two beautiful girls inspire me every day. Great art. Music, gospel, classical, jazz. It’s part of my life. Mostly by people who aren’t afraid to take risks intheir lives, who live their lives as if every day was their last. People who have strong convictions.

What did you learn from your first film?

The most important lesson I learned was to always trust your instincts, never stop learning — and steal from the best, because I surely did.