In the excellent, sprawling documentary about the New York
Public Library, “Ex Libris,” filmmaker Frederick
Wiseman examined the vital cultural role of libraries, showing them to be so
much more than free sources of knowledge. From administrative meetings, to book
clubs, lectures, and community meetings, Wiseman turned his camera on employees,
patrons, scholars, and the people who depend on libraries every day. Scene by
scene, he built the case that these institutions are the very lifeblood of an
educated society.
One
intriguing issue that film touched on only briefly was the question of how
library employees should humanely and compassionately respond to homeless
visitors. The real-life workers seen in “Ex Libris”
had no perfect answer, and make efforts to welcome these individuals, but only up
to a point.
That same
question is at the heart of Emilio Estevez’s “The Public,” an old-fashioned,
heart-on-its-sleeve social advocacy drama that finds the actor returning to the
director’s chair for the first time in eight years.
In addition
to writing, directing, and producing, Estevez also stars as Stuart Goodson,
head librarian at the downtown Cincinnati Public Library. Goodson and the rest
of the staff have a friendly but at times uneasy relationship with the
individuals who frequent their library. The building acts as a place for them
to stay during the day and get out of the cold for a while, and that’s fine, so
long as their presence didn’t infringe on the safety or comfort of the
library’s other patrons.
But as the
city braces itself for a bitter cold snap, a group of homeless people (led by Michael
Kenneth Williams) decide to occupy the building after closing hours, refusing
to leave because the shelters are full and they may very well freeze to death
if forced to remain outside. The police are called, and the situation quickly
spirals into a media and political maelstrom, drawing in a police crisis
negotiator (Alec Baldwin), a district attorney and mayoral candidate (Christian
Slater), the chief of police (Richard T. Jones), and the library’s director
(Jeffrey Wright).
Estevez is
strongest in setting up the film’s world, establishing daily operations of the
library and people in it. But as the conflict develops, things take a turn for
the melodramatic. And by centering the film’s moral quandary on Stuart (and his
colleague, played by Jena Malone) the story ends up taking the form of a white
savior narrative.
The film’s
large ensemble cast (which also includes Taylor Schilling as a burgeoning
romantic interest for Estevez’s character) leads to a few too many
underdeveloped plot strands. The less said about a morally bankrupt TV news
reporter (Gabrielle Union) looking to mine the standoff for her own
professional gain, the better.
But for the
most part Estevez does well, adding complexity and heart to the story he wishes
to tell. And the central debate is a fascinating one: What is a library that
can’t serve the most basic needs of its patrons, and what are the limits of
its obligation to its patrons?
Despite any
narrative shortcomings, “The Public” succeeds through an appealing earnestness
and sincerity, building a thoughtful, compassionate drama that seeks to
challenge its audience as much as it entertains.
This article appears in Apr 10-16, 2019.
