Dead Poets Society: An Appreciation
Looking at Robin Williams Film Years After its Release
May 7, 2009
You don't always vividly remember the first time you watched a film. If you're a big fan of film, you watch umpteen films a month; some are forgettable, some are memorable, but very few just stay with you, REALLY stay with you after the credits roll.
From the opening moments of Dead Poets Society to the awe inspiring score of the final scene of this great, great movie, audiences are inevitably rapt. The reasons are many.
Dead Poets Performances
Director Peter Weir went to great lengths to establish a kinship with those guys off camera, and it more than pays off on the screen. They are dynamic, believable characters almost to a person. Even the less explored characters like Meeks (played by Allelon Ruggiero) and Pitts (James Waterston) behave consistently.
Cameron (Dylan Kussman) is a particularly layered character, surprisingly. It's surprising because his turn in the climax of the film will make the audience feel as if he is the villain. There is a desire in him to fit in, yes, but there's also an overwhelming need to feel like he has some control, and a burning need for him to be what he considers to be successful.
The other students featured in this movie simply shine in some of the best performances of these actors' careers, even to the present day. Gale Hansen plays Charlie "Nuwanda" Dalton with obvious glee and more than a twinkle in his eye throughout. He delivers his lines with the perfect amount of cockiness and tongue-in-cheek wit. He allows his vulnerability to show through, even as it's guarded by the wall of smart-alecky quips. He's a fun actor to watch in this part; charismatic and electric.
Josh Charles is great as Knoxious Overstreet, the lovelorn and wide-eyed lad who is inspired by Keating's encouragements. Knox's version of "Seizing the day" is to try to win the heart of Chris Noel (a lovely Alexandra Powers). He goes to great lengths to this effect, writing poems and reading them aloud in front of her entire classroom, showing up on his bike at opportune moments, eventually convincing her to go to the play near the film's tragic climax.
Robin Williams as John Keating
Of course, the center character is the teacher, John Keating, who is more than ably played by Robin Williams. Robin is absolutely excellent, and was nominated for an Academy Award. He is just the right amount of funny, balancing his traditional histrionics (though honed for this film with some excellent dialogue) with more subtle notes that weren't seen from him before this film. He's inspirational because he believes what he says, and because he gives off the feeling of having genuine affection for these boys, no matter how trying they are.
It's that feeling of helping to teach these boys how to break out of the orthodox thinking manner in which each is respectively embroiled that makes Keating such a likable character. You don't get the feeling he's anything other than frank and heartfelt.
But the two main characters are arguably Neil Perry (Robert Sean Leonard in what should have been a star making turn) and Todd Anderson (Ethan Hawke, in what is probably still the finest role of his career).
Neil is a whirlwind of passion, especially as awakened by Keating. He finds that he has a burning desire to act, and pursues that end with fiery abandon. He makes unfortunate choices that lead to a tragic culmination. Leonard plays this part with such sweet innocence and profound joy that it would be nigh unto impossible to dislike him or root against him. His father, played consummately by Kurtwood Smith, is an understandable if unlikable character. Mr. Perry loves Neil, but is driven more by what he thinks is right for his boy than by what Neil actually wants for himself. After Neil has exhausted nearly every chance to tell his father of his passion for acting, we watch his vibrancy crumble into an assailable and tender thin skin. This is best illustrated by his look after the play (a great triumph for Neil) when he makes eye contact with his father.
Similiarly, Ethan Hawke's character Todd Anderson goes through an emotional roller coaster ride throughout the film. Todd is quiet to the point of shy, having been pushed to the point of living up to his older brother and not really knowing how or having the urge to do so. Hawke himself is vulnerable in a way he hasn't been in any role since. There are no showy mannerisms, only a believable interpretation of apprehension. Todd has great opinions, but he's too scared to express them. He's bashful to the point of fear.
It's an intensely inspiring story because of how we are able to like and/or identify with the main players.
Directing Dead Poets
Weir does a fantastic job throughout, telling his story and developing the characters and their relationships. The film is sprinkled with instantly quotable poetry throughout, which only adds to the feeling of a higher work. The movie feels important.
Dead Poets Classic Status
Dead Poets Society is a master work of art, and more importantly, a brilliant achievement of inspiration and encouragement. It hasn't lost any importance as the years have gone by, and it's relevance only continues to thrive.
