Rendező:
Peter WeirForgatókönyvíró:
Tom SchulmanOperatőr:
John SealeZeneszerző:
Maurice JarreSzereplők:
Robin Williams, Robert Sean Leonard, Ethan Hawke, Josh Charles, Gale Hansen, Dylan Kussman, Allelon Ruggiero, James Waterston, Norman Lloyd (több)Tartalmak(1)
Ifjú lelkeket lángra lobbantó különc tanárember kezdi meg varázslatos működését 1959-ben a Welton Akadémia ódon falai között. Lapról lapra tépeti szét diákjaival a tankönyvet, mert azt akarja, hogy felfedezzék: életük maga a költészet. A felismerés egyeseknek életreszóló szerelmet, másoknak tragédiát hoz. A hagyománytisztelő iskolában pedig tanyát ver a lázadás szelleme. (InterCom)
(több)Recenziók (8)
A remarkably perfect film, both formally and in terms of contents, however inappropriate that might sound :-)
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A matter of the heart - a subtle lyrical enchantment with emotions. The story of the burden of responsibility and breaking free from the will of parents is certainly not captivating on the surface, because a lot of hints do not happen ostentatiously in front of the eyes, but somehow in the second plan. Weir beautifully demonstrates the perversion of the English imitation of academicism in a terrible positivist preface to the reading of poetry, which makes aesthetics measurable and symbolizes the world of a prestigious private middle school. Into this environment comes a person with the poetic surname Keating, who leads students to read on their own, to the immeasurable experience of the word and from their own actions. It is strange that the answer to whether seventeen-year-old boys are ready for independent thinking actually remains open due to the tragedy at the end, but the viewer and the creators are clearly on the side of free-thinking – and therefore John Keating. But it is the rift that opens between the carefree CARPE DIEM and its aftermath that created, for me personally, the film's strongest dramatic line. A line that, unlike many others, does not have a clear yes or no answer. Which is a quality for which I like poems. Peter Weir conceived the film very generously in terms of its visuals, the lyrical units of nature are beautiful, and the visual rendering of the Midsummer Night's Dream is also fantastic. The chosen narrator works perfectly by drawing you into the events and, with a few exceptions he does not bore and does not slip on the surface of relationships. Williams is traditionally great, as are the young dead poets. Although Weir shows only what the decadents and entire generations of poets knew before them — that sucking life to the bone sometimes means choking on that bone — his Society is a visual poem that speaks to me in a pure and clear structure.
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I saw Holden Caulfields in all of them. Not the same as him, totally different, but they were all Holdens. They had no idea what they could do. They felt there was something there, it provoked them. And they had to confront it somehow. Dead Poets Society is a very interesting film that will make you laugh, get into the souls of the young men and make you cry. All the actors were excellent, they all managed to convince me that they were their character. I can't imagine how I would live, what I would do if I were in their shoes. Exceptional film.
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John Keating is not just a teacher but above all a distinguished intellectual who considers critical thinking, open-mindedness, and creative activity as the highest values that need to be defended and instilled in the younger generation. He is not interested in mechanical transmission of a sum of information, but rather in stimulating independent thinking and creativity. It is the 1950s, and rock'n'roll is playing on the radio, but in a private school for the children of the American elite, time seems to have stopped and in this authoritarian and musty environment, where caution is cultivated, the professor's opinions appear suspicious and potentially dangerous. The film is enjoyable, understandable, and easily digestible; on the other hand, as is often the case with American studios, it is overly polished and naively idealistic. Peter Weir found Robin Williams to be the ideal protagonist for the main role. A charismatic and likable individual, in whom you believe his enthusiasm and value system. Overall impression: 75%.
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I understand the Oscar for the screenplay. Above all, the characters were excellently written and brilliantly performed, and Robin Williams convinced me that when the role suits him, he can work wonders. However, the pace was quite uneven. At times it was ideal, in some scenes even captivating, but at times it was terribly boring, making you hope for something to start happening again.
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We don't even have to be poets to be completely absorbed by this amazing film and for its poetic narrative to throw us into blissful nostalgia. Peter Weir, and I stand by this, is one of the best directors alive, whenever he makes a film, it is sure to be among the absolute best in its genre. Dead Poets Society is a very unassuming story, but with such polished craftsmanship, excellent actors (Williams!!) and a powerfully emotional and beautiful ending that made my heart leap for joy perhaps as much as it did for the honoured teacher Keating. This how you make great films, and you don’t even have to write the script in verse. 95%
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Beautiful film about the power of words and poetry, but also about how just being a little different can lead to a big problem. You are the first to suffer when something goes wrong. But it is also about how suppressing creativity in a person is evil in itself. But it is always easier to blame individuals than a dysfunctional society. Robin Williams in another captivating role.
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