Plot
The Ron Clark Story follows the inspiring tale of an energetic, creative and idealistic young teacher who leaves his small North Carolina hometown to teach in a New York City public school. Through his passionate use of special rules for his classroom, highly innovative teaching techniques and an undying devotion to his students and helping them cope with their problems, Clark is able to make a remarkable difference in the lives of his students. For one young girl trying to attend school while helping to raise her siblings, he offers a chance for her to overcome her situation and become the top student of the class. For a young man with a penchant for graffiti, he offers an ideal outlet for artistic expression. Even when he is almost overcome by pneumonia, Clark continues to work with his students, hoping that he can raise their test scores to an acceptable level, or possibly even higher.
However, when Clark returns, he finds out his class did not deliver the goods but he remains optimistic about their chances. The kids sit in the state exams and a few days later, Clark takes the kids to see The Phantom of the Opera. In the end, Principal Turner reveals that Mr. Clark's class got the highest average (they got a higher score than the honor class) in the state and Clark was regarded by his students as their best teacher.
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Famous quotes containing the word plot:
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
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“Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)