Reflections
on “Dead Poets Society”
Directed
by Peter Weir
Written
by Tom Schulman
Starring
Robin Williams, Robert Sean Leonard, Ethan Hawke,
Josh
Charles and Gale Hansen
The script and direction,
by Tom Schulman and Peter Weir respectively, offer characters that are
remarkably well drawn and themes that arise naturally from the relationships
and conflicts between the characters, imparted with exceptional clarity.
Although the charismatic
John Keating may be regarded as the principal character, in fact he is more of
a catalyst who motivates change in others, and it is these others who supply
the bulk of dramatic interest and engagement.
The theme and very
purpose of education is explored as John Keating, a newly arrived but experienced
teacher of English at Welton Academy prep school for boys, makes use of
unconventional strategies and methods to engage and inspire his students. These
techniques will cause some friction and will contrast with the conservative
principles and teaching methods employed at Welton, whose core values are
tradition, excellence, discipline and honour. Fine values indeed, but in
fostering them Welton appears to advocate conformity, the training and moulding
of the individual and robotic learning to promote the creation of model
citizens and success in society.
This contrasts sharply
with Keating’s view that the purpose of education is to allow or enable an
individual to think for himself or herself and he encourages passion, personal
fulfilment and ambition based on one’s own aspirations, not the expectations of
others.
This does not mean the abandonment of old principles and values, but it does imply the recognition of personal freedom and choice, and the need to adapt. It is probably no accident that the action of the film takes place in 1959, on the cusp of the sixties. Our story may reflect something of a turning point in society as we moved from relative rigidity and intransigence toward the freedom, challenge and counterculture of the 1960s.
Keating introduces his
students to the concept of “carpe diem” or seize the day. He draws attention to
the fact that his students’ days are numbered and therefore they should make
the most of life and the opportunities presented to them. He advises each
student to find his voice and live in such a way that there should be no
regrets at the end. He champions personal fulfilment over playing a role or
fulfilling the dreams and ambitions of parents, teachers or other interested
parties. Curiously, in many ways this resembles the philosophy of Sean Maguire,
the teacher also played by Robin Williams in “Good Will Hunting”.
Keating’s convictions are
embodied in his instruction to tear out an introduction in a text book devoted
to the study and analysis of poetry. This introduction promotes a somewhat
mechanical means of measuring the worth of a poem and Keating rejects it
entirely, suggesting this coolly analytical, almost mathematical approach to
understanding poetry denies or ignores the very purpose and point of poetry. Keating
wants to explore and sensitise his students to the raw reactions, passion,
feelings and thoughts of poets as they reflect on love, disappointment,
delight, relationships, nature and life in general. He wants his students to
aspire to indulge such feelings and thoughts and to express them in their own
words.
Clearly, this desire
conflicts with the controlled, distant and uninvolving process of analysis
advised in his students’ text books, a method which may lead to exam success
but which ultimately may fail to elucidate the meaning and purpose of the poems
studied.
These boys are sent to
boarding school to develop and evolve, but in a particular mould, and they
experience the age-old pressure to please their parents and conform to others’
expectations and guidance. There is no doubt that their parents and teachers want
what is best for these young people, in their view, but at what point should
the character, aspirations and hopes of these youngsters themselves be taken
into account?
This existential
conundrum, with repercussions on both sides of the debate, is beautifully and
sympathetically depicted here, though it is taken to extremes for dramatic
effect.
In contrast with this
pressure to conform, Keating encourages the boys to look within themselves and
recognise and explore their own thoughts and feelings. The effect varies from
individual to individual, but all make choices, all gain and all come into
conflict with the status quo and with themselves.
Todd, with direct and
personal intervention from Keating, manages to overcome his shyness and
insecurity to find his voice and express his inner thoughts in class. He will
go on to lead the defiant expression of recognition and sympathy at the end of
the film.
Charlie discovers his own
hidden depths as well as wit and daring as he leads an uprising against the
status quo in a quest for modernisation, adaptation and reform within the
school.
Knox falls head over
heels in love with a young lady named Chris, which is not attributable to
Keating’s influence, but the fact he recognises his own feelings and finds the
courage to approach Chris and express his feelings for her, is undoubtedly due
to Keating’s teaching.
Neil finds the courage to
fulfil his ambition to act and he wishes to pursue this as a career but this
brings to a head the friction between him and his parents and, unable to see a
way of both satisfying his parents’ ambitions for him and fulfilling his own
desires, tragically he takes his own life…
Keating is judged by the
school to be largely responsible for this tragedy and he loses his position at
Welton, though he may be viewed as something of a scapegoat as society seeks to
apportion blame in this existentially complex matter.
There is a tremendously
moving final scene in which Keating’s students convey their view of things
when, in reference to a previous lesson, they stand on their school desks, in
defiance of the headmaster’s commands to sit down, suggesting they have taken
on board Keating’s urging to see things from a different perspective and to
think for themselves.
The acting of all
concerned is to be commended and Robin Williams is often rightly praised for
his wonderful performance, but I would say that the performances of the boys
also deserve the highest praise, especially that of Robert Sean Leonard.
My thanks for taking the
time to read this article. I hope you found it of some value.
Stuart Fernie (stuartfernie@yahoo.co.uk)
HOME BLOG
No comments:
Post a Comment