“The Public” Film Review: Library Humanity Confronts Societal Indifference
by SaraKay Smullens, MSW, LCSW, DCSW, CGP, CFLE, BCD
“Society has survived not banning books which it finds offensive from its libraries; it will survive not banning persons whom it likewise finds offensive from its libraries.”
Judge H. Lee Sarokin of Federal District Court in Newark, on May 23, 1991
To call one “a natural social worker” is the finest compliment I can offer. In this angry, divided, and frightening time in our country and the world, it is heartening to see the caring and character of natural social workers featured in a film that draws attention to the inordinate suffering and dangers that people who are poor, homeless, and unrooted face moment by moment, day by day. Such a film is the extremely well intended The Public, written and directed by Emilio Estevez, who also is one of the producers and has the starring role. Estevez credits a 2007 essay by Chip Ward, “What They Didn’t Teach Us in Library School: The Public Library as an Asylum for the Homeless,” which circulated worldwide, as the inspiration for The Public.
I have not followed Estevez’s professional life closely. But of course, I do remember the extremely popular, well received 1985 ensemble production, The Breakfast Club, which also took place in a library – this one used as a setting for detention, and the Annie Leibovitz poster depicting five students who found solace together. The Estevez film that stands out most in my mind is Estevez’s 2006 Bobby (which he also wrote and directed), an able and heartbreaking ensemble portrayal of the hopes and joy in the hours leading up to the June 5, 1968, shooting of Senator Robert Kennedy in the kitchen of the Ambassador Hotel in Los Angeles after he won the presidential primary in California.
In The Public, also filmed almost entirely in one setting, as well as an ensemble production, we find ourselves facing one day inside of the ultra-modern and most appealing Cincinnati Main Public Library. Estevez’s chosen film title depicts the film’s intent: a library serves the public in far deeper ways than the availability of books. Estevez plays Stuart Goodson, ably described by his surname, whose official title is head librarian. Early in the film, we see an understated, good man greet his desperately deprived patrons, offering kindness, humor, and professionalism. We will learn more in time about the depth of his caring.
The Public shines light on what public libraries across the nation confront – homeless people lined up outside every morning, waiting to get in out of the cold (or the heat); use lavatories to find relief and some semblance of cleanliness and hygiene; and turn to books, computers, and each other for refuge and escape from hunger and the injustice of the real world. Crucial to the film’s plot development is the horrific cold front Cincinnati is experiencing, one in which existing shelters are far too inadequate to meet community needs, and homeless people, unable to withstand dire conditions, die on city streets.
With a fierce cold predicted, Jackson (Michael K. Wilson – yes of “The Wire” and “Boardwalk Empire” acclaim), the unappointed yet obvious leader of the 70 or so homeless men and women who gather daily at the library, tells Goodson that his group is determined not to leave the library at closing time. He reasons with Goodson: since all of the city shelters are full, why can’t the library, a public institution, house his homeless band, and offer relief and safety for at least one night? Goodson finally agrees, and the group takes refuge behind barricaded doors – (be proud!) in the library’s social science department. Although admittedly contrived, I loved the moment that the endearing giant Big George (rapper Che Smith, a.k.a. Rhymefest) makes physical safety possible – at least for the time being.
At this point in the film, however, an authentic rendering highlighting the truths social workers know all too well morphs into yawns of simplistic expression, cardboard portrayal, and contrived resolve. This limitation, however, is in script and plot, not acting. Despite constraints, the cast gives their all: Detective Bill Ramstead (Alec Baldwin) is a dedicated (too dedicated) police negotiator facing his own family crisis; Josh Davis (Christian Slater) is a hateful, devious prosecutor, determined to become mayor; and Gabrielle Union is an ambitious television reporter (with a captivating smile) hell bent on building ratings by framing what is going on inside of the library as a dangerous hostage situation when, with few exceptions, all are gratefully enjoying pizza, books, and longed-for warmth.
Goodson’s romantic interests - his colleague, Myra (Jena Malone), and his apartment manager, Angela (Taylor Schilling) - also offer fine performances. Angela soon lets go of her resistance and plays a significant role in bringing truth to the public, and there is the hint that Myra may regret being more interested in dinner with her mom than with Goodson. Estevez' dedication is well portrayed – the best dialogue is written for him and Michael K. Williams.
The Public is a genuinely well intended film. It underscores what is necessary in every community – social workers enabling others through devoted skill in every host public institution. To know more about the work of our real-life social work colleagues in libraries (and myriad other settings), do read and be inspired by the book Days in the Lives of Social Workers, edited by Linda May Grobman -- most specifically, Chapter 60, “Social Work in the Public Library” by David Perez, MSW. I have no doubt that before grad school, Perez was precisely who Stuart Goodson portrays - a “natural social worker.” But, unlike Goodson, Perez’s authentic dimension and informed direction is not limited by a script that falls short.
SaraKay Smullens, MSW, LCSW, DCSW, CGP, CFLE, BCD, whose private and pro bono clinical social work practice is in Philadelphia, is a certified group psychotherapist and family life educator. She is a recipient of the Lifetime Achievement Award (2004) and the Social Worker of the Year (2018) from the Pennsylvania chapter of NASW, and the 2013 NASW Media Award for Best Article. In 2018, she was one of five graduates of the University of Pennsylvania School of Social Policy and Practice selected for the school's inaugural Hall of Fame. SaraKay is the author of Whoever Said Life Is Fair, Setting YourSelf Free, and Burnout and Self-Care in Social Work. Her writing has been published in peer-reviewed journals, newspapers, and blogs. SaraKay's professional life continues to be devoted to highlighting destructive societal forces through communication, advocacy and activism. Read more about her work at SaraKaySmullens.com.
See related article: Public Libraries Add Social Workers and Social Programs
