Good Will Hunting is particularly useful because the film pretends to be about class difference, at least for a time.
Invariably, Good Will Hunting will have its audience side with Chuckie's resolute attitude, dividing the world up between the no-exit fate of working-class labour and the open-ended road of just about everything else.
Let us be clear: hardly identifiable as a working-class drama, Good Will Hunting is, foremost, a romantic comedy laced with faint traces of dramatic seriousness, a genre intimately tied to the preservation of society's dominant cultural values.
The social consensus propping up the success of Good Will Hunting was and is probably more alarming to me than any other aspect of this film (you merely have to scan the hundreds of Web reviews of the film to believe it), but it is also not surprising in view of other nineties Academy-endorsed hits.
But, as we quickly discover in Good Will Hunting
(15), there's much more to this rough and tough youngster from the wrong side of the tracks.