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They were called the class from Hell-thirty-four inner city sophomores she inherited from a teacher who'd been "pushed over the edge." She was told "those kids have tasted blood.

They were called the class from Hell-thirty-four inner city sophomores she inherited from a teacher who'd been "pushed over the edge." She was told "those kids have tasted blood.They're danger She bullied, bluffed, and bribed her students into caring about school.

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opened 20 years ago this week, the critics couldn’t tell their readers loudly enough just how totally over it they felt.

The film “tells another one of those uplifting parables in which the dedicated teacher takes on a schoolroom full of rebellious malcontents, and wins them over with an unorthodox approach,” began Roger Ebert in his unrelenting slam of the film. That formula is simple: A new teacher takes on failing or at-risk kids who have long been abandoned by the system (usually in a poor, urban neighborhood) and helps turn their grades, and thus their lives, around.

and opens with the grainy black and white imagery of an impoverished California neighborhood, painting a dour, bleak scene of life for the kids we are about to meet.

(The scene only bursts into color as they arrive by bus at their school.) In deploying that harsh cinematic technique, director John N.

Raul Chacon was standing in the middle of the parking lot outside my classroom, shivering in the freezing rain” (3), and “I had intended to keep Raul after class and give him a stern lecture, but I ended up giving him a hundred dollars instead” (4).

Johnson doles out information in tantalizing, heaping teaspoons.In the book, Johnson never has her life threatened by a student.She never hosts a school fundraiser at a strip club.At some point, the teacher will reach a point at which she will want to quit, but an out-of-the-blue grand gesture by the kids will change her mind by the third act.It’s a subgenre that is naturally prone to sentimentality, so even the good or at least watchable examples of the form—like stands out from its predecessors and many of the films that followed as a particularly egregious example of the inspirational-teacher idiom, particularly when it comes to its feel-good oversimplifying of two of its themes, pedagogy and race.When others gave up on them, she broke the rules to give them the best things a teacher can give-hope and belief in themselves.When statistics showed the chances were they'd never graduate, she fought to beat the odds. If you loved Stand and Deliver, you'll stand up and cheer for Lou Anne Johnson and Dangerous Minds.They're dangerous."But Lou Anne Johnson had a different idea.Where the school system saw thirty-four unreachable kids, she saw young men and women with intelligence and dreams.(In real life, Emilio didn’t die; he spent four years in the Marine Corps and started a family.) This moment—and the subsequent scene in which the remaining kids beg Lou Anne to stay because she’s their “tambourine man” and their “light”—encapsulates the narrow, patronizing worldview of , in which the teacher’s climactic triumph comes in the form of a gooey No. In that film and others, at least, the teachers and their students interact with one another in a way that feels more like the “two-way street” Bass described—like in the end of , then in its third week.Its soundtrack, and more specifically, Coolio’s “Gangsta’s Paradise,” became a cultural phenomenon.