This is possibly the best story I have ever seen.
The dangers of power and authority and freedom are explored
in this film. The responsibilities of each are displayed, as well as consequences
when they are abused. Characters are, in general, round and dynamic. The can
bounce off each other. The canvas that was set and sound provided a base for
the actors to spring forth from. It is
brilliant.
The introduction of characters is steady and smooth. Among
the chaos of first day activities you are directed to a few faces. A few voices
rise above the hubbub. A couple of names are heard distinctly. Short bits of
conversation begin to develop tension, as between Neil and his father,
expectation, as between Todd and his parents, and uncertainty, as when the
professors all turn and look at Keating. This gradual introduction allows you
to know the characters before you truly meet them, which is a unique
experience. The characters build themselves.
Character development is strong. Neil starts toward the
back, cautious and studious. He gains stamina, though, and comes bursting forth
in joy. Sadly, authority, power, and freedom are abused in his story, and it
ends. Todd, however, feeds off Neil’s passion and becomes himself. He finds
himself important, perhaps for the first time. The feeling of animosity
between youth and adult is strong, almost tangible, but is kept at bay. There is respect, but
mostly fear. Mr. Keating is the exception. All of the actors were exceptional
and drove the story.
The set is the school, for the most part. It is very brown
and none too bright. It reeks of tradition and honor, and money. You have expectations
immediately. When something odd happens, like standing on a desk or filing
through an empty hall, it is more jarring because the atmosphere is so
opposite. Even when they are outside, everything is brown, autumnal, scholarly,
monotonous and boring. There are a few instances where there is real color.
There is a sunset, and the band rally that Nox visits is bright.
The sounds and
music were adeptly chosen. The use of camera angles and zoom were also artful
in execution. The lighting was good. It was there to illuminate, not to force
the eyes to see anything in particular. The acting and camera took care of that.
The use of shadows is also important. There are shadows, as Puck
declared, that can be offensive but mending is always a possibility. The shot where Neil lays down
his crown, his dreams and person, and walks out, you watch his shadow in the
background. This is the shadow of a man offended and devoid of purpose, so he now felt.
This work is a composition in itself. It is solemn, juvenile, quiet, raucous, thrilling, casual, supernatural and captivating all at the same
time. There is a character for everyone. It is a wonderful illustration.
Everything works together, like a well calibrated machine. Nobody in the film was
unaffected by the events that took place. Rather, the reactions were true. The
audience is affected, as well. Dead Poets Society is poetry in motion.
