| Sarah Childress | ... | Herself / Reporter | |
| Arun Rath | ... | Himself / Reporter |
| Episode Crew |
Writing credits(in alphabetical order) | ||
| Frank Koughan | ||
Produced by | |||
| Raney Aronson | .... | producer | |
| Ken Druckerman | .... | executive producer | |
| David Fanning | .... | executive producer | |
| Missy Frederick | .... | producer | |
| Anneka Jones | .... | co-executive producer | |
| Lisa Kalikow | .... | co-producer | |
| Azmat Khan | .... | associate producer | |
| Frank Koughan | .... | producer | |
| Michael Mezaros | .... | post producer | |
| Sarah Moughty | .... | coordinating producer | |
| Robin Parmelee | .... | coordinating producer | |
| Arun Rath | .... | producer | |
| Michelene Starnadori | .... | line producer | |
| Michael Sullivan | .... | executive producer | |
| Banks Tarver | .... | executive producer | |
| Kevin Vargas | .... | producer | |
Original Music by | |||
| John Dragonetti | |||
Cinematography by | |||
| Jaron Berman | |||
| Jeremy Gould | |||
Film Editing by | |||
| Fanny Lee | |||
Production Management | |||
| Kevin Fogarty | .... | post-production supervisor | |
| Varonica Frye | .... | unit manager | |
| Anna Haynes | .... | production manager | |
Sound Department | |||
| Brian Albritton | .... | sound supervisor | |
| J.R. Rodriguez | .... | sound mixer | |
| Jim Sullivan | .... | sound mixer | |
Camera and Electrical Department | |||
| Wolfgang Held | .... | additional camera operator | |
| Pierre Meunier | .... | additional camera operator | |
| Barry Strickland | .... | gaffer | |
Editorial Department | |||
| Michael H. Amundson | .... | post-production editor | |
| Phil Bennett | .... | managing editor | |
| Mark Dugas | .... | post-production editor | |
| Jim Ferguson | .... | post-production editor | |
| Eric Gulliver | .... | assistant editor | |
| John MacGibbon | .... | promotions editor | |
| Megan McGough | .... | post-production coordinator | |
| Lucas Mumford | .... | post-production coordinator | |
| Marlon Singleton | .... | additional editing | |
| Emiliano Styles | .... | assistant editor | |
| Louis Wiley Jr. | .... | editorial consultant | |
Music Department | |||
| Martin Brody | .... | composer: theme music | |
| Mason Daring | .... | composer: theme music | |
Other crew | |||
| Sam Bailey | .... | multimedia director | |
| Carla Borras | .... | production secretary | |
| Jim Bracciale | .... | series manager | |
| Eric Brass | .... | legal | |
| Jason Breslow | .... | research assistant | |
| Ariel Carson | .... | post production assistant | |
| Alejandra Chavero | .... | translator | |
| Ernest Coaxum | .... | logger | |
| Gianna DeGiulio | .... | contracts manager | |
| Rose Donnelly | .... | production assistant | |
| Greg Duran | .... | rights and clearances coordinator | |
| Mike Etlinger | .... | post production assistant | |
| Talya Feldman | .... | compliance manager | |
| Jay Fialkov | .... | legal | |
| Janice Flood | .... | legal | |
| Chris Fournelle | .... | broadcast director | |
| Andrew Golis | .... | media director | |
| Doron Hagay | .... | logger | |
| Diane Hebert-Farrell | .... | publicist | |
| Pamela Johnston | .... | audience director | |
| Amy Kane | .... | logger | |
| Scott Kardel | .... | legal | |
| Christopher Kelleher | .... | secretary | |
| Katie Lanning | .... | editorial secretary | |
| Jenny Lee | .... | logger | |
| Tim Mangini | .... | broadcast director | |
| Emily McNamara | .... | contracts manager | |
| Brittany Djie Mills | .... | production assistant | |
| Alicia A. Murphy | .... | rights and clearances supervisor | |
| Sean Murphy | .... | utility | |
| Lisa Palone | .... | content manager | |
| Tobee Phipps | .... | business manager | |
| Alex Pullen | .... | office manager | |
| Justin Revis | .... | production assistant | |
| Bill Rockwood | .... | developer | |
| Sandy St. Louis | .... | manager | |
| Nathan Tobey | .... | coordinator | |
Thanks | |||
| Chris Caesar | .... | special thanks | |
| Jaime Castaneda | .... | special thanks | |
| Laura Jeffery | .... | special thanks | |
| Victor Okoli | .... | special thanks | |
| Mark White | .... | special thanks | |
| Will Lyman | ... | Series narrator |
| Series Crew These people are regular crew members. Were they in this episode? |
Directed by | |||
| Brent E. Huffman | |||
| Katerina Monemvassitis | |||
Produced by | |||
| Marsha Bemko | .... | associate producer | |
| Katerina Monemvassitis | .... | producer | |
Cinematography by | |||
| Emmett Wilson III | |||
Production Management | |||
| Grant Viklund | .... | assistant production manager | |
Sound Department | |||
| Donna Bertaccini | .... | location sound mixer (multiple episodes) | |
| Michael Keenan | .... | location sound mixer (multiple episodes 1997-) | |
Editorial Department | |||
| Nishant Radhakrishnan | .... | assistant editor (2000-) | |
| David Waletzky | .... | assistant editor | |
| Main series | Episode guide | Full cast and crew |
| Company credits | IMDb TV section | IMDb Documentary section |
*** This review may contain spoilers ***
Fascinating and tragic, "Dropout Nation" attempts to look at the dropout crisis facing American high schools. One school, Sharpstown High School in Houston, is our focus, a school which was once mockingly labelled the "dropout factory".
The documentary revolves around a small cluster of students, all of whom are at risk of dropping out. Each find themselves battling various social, economic and psychological issues, which together with the Sharpstown staff they attempt to overcome. Much of the film watches as support staff and teachers make thankless, Herculean efforts to get these kids across the finish line, often to no avail. One teacher, Brandi Brevard, a short haired woman, feisty and strong willed, is particularly interesting to watch.
Unsurprisingly, most of the suffering students live in poverty, have broken families and have little social support. Many are bright and quick-witted. Optimism and willpower help keep their heads above the water for some time, but eventually their environment's win. Suffocated, they drop out. The teachers cross boxes and watch them disappear.
Late in the film we're introduced to several special programmes initiated by Sharpstown in an effort to help failing students. Other programmes have a more sinister edge. They're designed to fudge numbers, hand out easy diplomas and convey the illusion that students are doing better than they really are. It's number manipulation. Paper trail trickery. Later we see "diploma mills". For around $300, we learn, they will give a quick test and then provide a diploma.
"There are no throwaway kids," the school principal says, but moments later his optimism collapses: "We're not going to be able to save every one of them." For every teacher who praises and supports a student in the documentary, there's another who lays the guilt and blame on thick.
One of the school workers claims that 70 percent of the problems they deal with from students are external to academics. The film makes clear the tremendous amount of strength needed by teachers to help these kids, but its overall point is pessimistic; the work of these teachers has little influence on the big picture. Depressingly, the few kids who graduate end up joining the Army. They have few other options.
Some of the kids followed are more interesting than others. Consider Sparkle ("I don't wanna talk about my life, because I don't wanna cry in front of all these people"), who seems smart and self-aware, but who eventually drops off the radar. When an administrator tries to tell Sparkle a Katrina refugee who moved from New Orleans to Houston that being a student needs to be her most important job, she responds that she needs to "make sure I can lay somewhere every night. Make sure I can eat every day. That's my job". If there's any lesson to be learnt from "Dropout Nation", it's that improving the educational system cannot be separated from improving society as a whole, no matter how hard some of the best people try.
Ironically, mega banks like J.P Morgan Chase recently handed the reigns to banking system in the bulldozed country of Iraq are the chief donors to Sharpstown (though the school is still in debt). Follow the money, and it's the very organisations that brutalise these kids, that toss them pennies to stay afloat just a little longer.
8.5/10 - Interesting. Worth one viewing.