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TIME: Almanac 1990
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1990 Time Magazine Compact Almanac, The (1991)(Time).iso
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time
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060589
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06058900.068
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1990-09-17
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CINEMA, Page 78A Bothered School SpiritBy Richard Schickel
DEAD POETS SOCIETY
Directed by Peter Weir; Screenplay by Tom Schulman
Good old Welton: blue blazers, compulsory chapel, imitation
Gothic architecture. A headmaster (Norman Lloyd) with a mellifluous
voice and a pinched spirit. A student body harboring a minority of
disaffected spirits awaiting rebellious mobilization. And over in
the English department, a passionate eccentric, John Keating --
played by Robin Williams -- who is just the man to stir the lads
up.
In the '50s, when Dead Poets Society takes place, prep schools
of this type were basically boot camps for male Establishment
offspring. They were also essential literary institutions. In those
days hardly a month seemed to pass without the publication of some
novel recounting a hormonal fire storm in one of these supposedly
serene, and unquestionably enviable,settings. As traditional
private schools changed, the fictional form they spawned fell into
disuse, and, frankly, that engenders no deep sense of loss. All
that quivering sensitivity! All that earnest soul-searching! All
that whining about absent and misunderstanding parents, present and
misunderstanding trigonometry teachers!
These attitudes are revisited in Dead Poets Society, which
assiduously apes the manner of this antique genre, and they may put
off viewers who will recollect having heard this song before. But
the film is also at pains not to exploit or endorse the lowest
impulses of its core audience, which is, of course, composed of
adolescents. It contains no har-har pranks. No one wrecks a car,
gets drunk or does anything more with a girl than hold hands.
Mostly the fine ensemble of young actors who are members of
the film's eponymous secret society (notably Robert Sean Leonard
and Ethan Hawke) grope with energetic sobriety toward an idea that
Keating keeps putting to them every way he can. It is this: the
business of education is not to gather facts but to find a ruling
passion, something around which you can organize your life. This
is a point that seems to elude most kids nowadays, probably because
it is one that their popular culture rarely troubles to make to
them.
Certainly it never does so as fairly as this picture does.
Encouraged by his mentor, Leonard's character defies parental and
school authority to reach out for his dream (he wants to be an
actor, not the doctor his father insists he must become) and finds
that it is beyond his emotional grasp. Though director Weir, who
is good at unspoken menace (Picnic at Hanging Rock and The Last
Wave), has created a subtly dark and claustrophobic atmosphere, the
final tragedy is nonetheless somewhat implausible.
There are times when Keating's colorful nonconformity verges
on the tiresome (he whistles Beethoven and declaims Whitman a
little too self-consciously). But basically Williams, who has
comparatively little screen time, has come to act, not to cut comic
riffs, and he does so with forceful, ultimately compelling,
simplicity. Like everyone else involved in this movie, he is taking
a chance on an odd, imperfect but valuable enterprise. He and the
movie deserve attention, respect and finally gratitude. Especially
at the start of sequel summer.