The Substitute

By LEONARD KLADY

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The Substitute (Action-drama -- Color) An Orion Pictures release of a Live Entertainment presentation of a Dinamo/H2 production. Produced by Morrie Eisenman, Jim Steele. Executive producers, Devorah Cutler, Steven Bakalar. Directed by Robert Mandel. Screenplay, Roy Frumkes, Rocco Simonelli, Alan Ormsby.
 
Shale ... Tom Berenger Claude Rolle ... Ernie Hudson Jane Hetzko ... Diane Venora Juan Lacas ... Marc Anthony Darryl Sherman ... Glenn Plummer Wolfson ... Cliff DeYoung Hollan ... William Forsythe Joey Six ... Raymond Cruz Jerome ... Sharron Corley Wellman ... Richard Brooks Johnny Glades ... Rodney A. Grant Rem ... Luis Guzman John Janus ... Willis Sparks Lisa ... Maria Celedonio Anna Dillon ... Peggy Pope The makers of "The Substitute" have effected a mix-and-match high-concept formula that comes perilously close to parody. The premise places an out-of-work soldier of fortune in a tough-as-nails high school to clean up the joint. Though the setup is largely preposterous, the filmmakers go whole hog for the idea and provide a kinetic entertainment with strong sleeper potential. It has the goods to click commercially and will be a crucial test for kickstarting the long dormant distrib Orion. If the company can provide a strong opening salvo, the picture is assured of solid B.O., with potent overseas and ancillary results.
 

Shale (Tom Berenger) washes ashore in Miami after his mercenary band returns from a successful, if politically embarrassing, raid on Cuban drug runners. When the U.S. government contact decides to keep the crew out of the line of fire, Shale takes a few meetings with indie contractors and camps out at the apartment of his girlfriend, Jane (Diane Venora). She teaches at Columbus High, a powder-keg environment largely run by the Latino gang Kings of Destruction.

Jane makes the mistake of crossing swords with gang honcho Juan Lacas (Marc Anthony), who has a goon bust her kneecap. At about that point, coincidence rears its head for the first time. When the woman's regular substitute can't step in, Shale decides to have his team provide him with a new identity -- James Smith -- to get a bead on the gang without Jane's catching on to his scheme.

On the hunch that the school is rife with drugs and, logically, money, Shale enlists his somewhat reluctant team to provide backup. Then he takes charge in the classroom and, to his surprise, actually gets most of the kids to listen and learn.

But this isn't simply the latest "Mr. Chips" with depot stops along the way for "To Sir With Love,""Lean on Me,""Stand and Deliver" and "Dangerous Minds." Here the disciplinary punishment is aimed at correcting more than bad manners. The school, Shale discovers, is a conduit for the local drug trade, and principal Rolle (Ernie Hudson), an ex-cop, uses the gangs as both agents and a smoke screen in order to line his brocade pockets.

Fueled by a sense of righteous justice, "The Substitute" goes into action with both barrels blazing. Berenger exacts revenge much in the style of the Man With No Name or the hero of "Death Wish." It's a very satisfying fantasy scenario.

Director Robert Mandel is mindful that his material is connected to reality by the slimmest of threads. Although the scenario is anchored by recognizable situations, there's an underlying attitude that's bigger than life and a tad ironic. The off-kilter spin provides the crucial edge to work this overplowed dramatic field successfully.

Berenger fairly delights in the role of a mercenary with a conscience. When Shale muses that the dictionary defines him as "someone who works merely for money," he's bothered by the word "merely"; that skewed tone nicely balances the macho posturing that comes with the turf.

The picture is exceptionally well cast, with such vets as Hudson, Venora and mercenary team members Raymond Cruz and William Forsythe bringing humanity to genre archetypes. Mandel also elicits strong work from non-pros and relative newcomers, especially salsa singer Anthony, who has a naturally unnerving presence.

The production conveys a quality of economy and speed, in the best sense. The tech crew has clearly worked hard to create a credible environment with a deceptive simplicity that's enormously appealing.

Camera (Foto-Kem color), Bruce Surtees; editor, Alex Mackie; music, Gary Chang; production design, Ron Foreman; art direction, Richard Fojo; set decoration, Barbara Peterson; costume design, Patricia Field; sound (Dolby), Joe Foglia; stunt coordinator, Glenn Randall; special effects coordinator, Rick Jones; assistant director, Tom Irvine; casting, Mary Colquhoun, Carol Lewis. Reviewed at Samuel Goldwyn Theater, L.A., April 15, 1996. MPAA Rating: R. Running time: 114 min.