Dead Poet's Society: SE

It’s 1959 and, for generations beyond count, the prestigious Welton Academy has prided itself on being the most academically decorated and highly sought after preparatory school in the country. For their part, Welton’s pupils, the future doctors, lawyers and George W’s of the great American nation, dutifully adhere to the school’s four lofty principles: tradition, honour, blah and blah.

Into this stoic, conservative environment arrives Todd Anderson (Ethan Hawke); a young man trying to fill the shoes of his big brother – one of Welton’s most well-known success stories. Shy and introverted, Todd is taken in by his new roommate Neil (Robert Sean Leonard) and his bunch of young droogs - Knox (Josh Charles), Dalton (Gale Hansen), Meeks (Allelon Ruggiero), and Pitts (James Waterston). Between puffing on cigarettes and short-sheeting each other’s beds, Neil and his rebellious possé are, well, straight-A students; comprising as they do a tight-knit and highly organised study group.

But the world of our sensible-haired blazer-wearers is turned upside down with the arrival of new English literature teacher and former Welton alumnus John Keating (Robin Williams). A breath of fresh air for Welton, Keating’s unorthodox teaching methods see the students tearing pages from their textbooks, standing on their desks to get a fresh perspective, and even (gasp) thinking for themselves. Inspired by their new mentor, the boys revive the “Dead Poet’s Society�, a secret club founded by Keating in his student days, that meets deep in the forest to read poetry and generally drink from the cup of life (whatever that means). As their lives slowly open up to new experiences, and Keating encourages them to carpe diem (seize the day), their old priorities (and those of their overbearing parents) don’t seem quite so important; filled as they are with new, more romantic dreams and aspirations. But as our adventurous young fellows soon learn, when daddy is busting his hump (or at least his cheque book) to send you to a fancy-schmancy school, you better think twice before trying to swim against the tide...

In Dead Poet’s Society acclaimed Aussie director Peter Weir has created a touching, life-affirming film that is in turn delightfully upbeat and gut-wrenchingly moving. A love-it or loathe-it cinema experience (Ebert describes it a ‘collection of pious platitudes’) Dead Poet’s Society displays all the hallmarks of a classic teen-film - lashings of angst, parental repression, the bonds of friendship, and anti-establishment rhetoric - but it's all bundled into an intelligent script filled with wonderful characterisations, well-constructed subplots, and a (shock!) thought-provoking climax. That the main thread of the film centres around the appreciation of poetry, of all things, is a testiment to the fact that this is no ordinary teen film; promoting as it does individualism and free-thought rather than genre-typical conformity and sexual antics. And of course having both Australia’s best director (Weir) and best cinematographer (John Seale) on board is just icing on the cake; with the film displaying perfect pacing, and filled to the brim with beautifully framed Vermontian vistas.

Of course the film packs its real punch with the wonderful performances Weir coaxes from his ensemble cast. Ethan Hawke, in the role that launched his career, puts in a brilliantly understated performance as a sensitive, inhibited young teen, and is ably supported by fine performances from his fellow schoolmates. This said, that the rest of these young performers have yet to match the lofty heights they dislayed here, seems a testiment to Weir’s skills as a director more than anything else. But then again, young Robert Sean Leonard’s moving portrayal of Neil, Wilton’s would-be thespian, is certainly the real-deal; his performance still managing to bring a tear to the eye. Why this talented young actor never went on to bigger and better things I’ll never know. Of course Dead Poet's also provided the vehicle for Robin Williams to make the leap into more serious film roles, and he brings just the right amount of humour and sensitivity to proceedings.

What all this adds up to is one of the truly classic films of the '80s; a celebration of learning and of life itself. If you haven't seen Dead Poet's Society, then do yourself a favour and give it a spin. You won't be disappointed.

For a film approaching 15 years of age, Dead Poet’s Society scrubs up remarkably well on DVD. The anamorphic (1.85:1) transfer is crisp and, complimenting John Seale’s stunning cinematography, displays a wealth of detail from the picturesque Vermont setting and antiquated preparatory school. Taken from a clean print, film artefacts are minimal, with only one or two (rather largish) artefacts marring the otherwise impressive image. Colours, as evidenced by perfect skin tone, are rendered faithfully, with the rich browns of wood panelled interiors and drifts of autumn leaves predominating. While black level is perfect, shadow detail – in keeping with the film’s age - is a little on the average side. Film-to-video artefacts are limited to a small amount of aliasing and with a single exception, the transfer is free of compression-related artefacts.

That exception, however, is rather a noticeable one and comes during the boys' first sojourn out into the forest at night. Here the billowing mist, a key component of what is one of the film’s most visually-arresting scenes, displays quite severe posterisation when viewed through a component video set up. Thankfully (for some), the artefact cannot be discerned in the equivalent s-video signal, and despite this one disappointing blemish in an otherwise worthy transfer, fans should be well pleased with Buena Vista’s treatment of this much-loved title.

Although furnished with a Dolby Digital 5.1 mix for its release into the digital realm, there really seems little to distinguish what we have been given here from the Dolby surround mix that may have greeted us on VHS. Lingering in the front channels like a timid schoolboy, the mix rarely ventures to the rear channel, and only then (and fleetingly) when emboldened by Maurice Jarre’s dramatic score. Likewise, the subwoofer has little to do; remaining solemn and silent throughout. On a positive note, front channel separation is reasonable, and the all-important dialogue is clear and distinct; delivered without synch issues or Williams’ annoying Mork-from-Ork voice. All in all, an audio presentation that is unspectacular to say the least. But given the setting and the subject matter it's not wholly surprising - it is '80s period drama after all...

Some servicable, non-anamorphic menus - resounding to strains of the film’s score - provide access to a number of interesting extras; several of which contain enough technical information to please you budding filmmakers out there...

• Commentary – director Peter Weir, cinematographer John Seale and writer Tom Schulman: Melded from three separately recorded commentaries, the results are a rather stilted, yet very interesting, look at the film. Although containing some large gaps, each of the collaborators relays both technical and anecdotal information about the production; and from a completely unique perspective. It's not the best commentary on disc, but one that easily kept my interest for the two-hour duration.

• Scrapbook: (23:56) In recent (post 2000) interview footage, Ethan Hawke and other cast members discuss their impressions of master director Peter Weir and how the film changed their lives. A great full-frame featurette, it contains some wonderful anecdotes from the production, including an insight into the role of director, and fans will lap it up. Interestingly, Robin Williams is conspicuous by his absence.

• Raw Takes: (8 minutes) In a scene that was removed from the final cut and was to be interspersed with the film’s dramatic climax, Mr Keating visits the boys at the Indian cave and leads them to a frozen waterfall in the woods. Non-anamorphic widescreen.

• Alan Splet Tribute: (10:55) Peter Weir talks about this extraordinary sound designer, his attention to detail, his creative input and their collaborative work on Dead Poet’s Society and Mosquito Coast. Following Peter, David Lynch also adds (via montage voice-over) his appreciation for Alan’s talents; discussing their first collaboration on his film The Grandmother, and explaining the real value that a sound designer brings to a film.

• John Seale’s Master Class: (21:35) Produced by the AFTRS (Australian Film, Television and Radio School) in 1993, this educational piece shows John taking a class of students through the lighting techniques used for the film’s smallest set – one of the dorm rooms. Great stuff for anyone interested in the technical process of filmmaking, and lighting in particular. Full-frame.

• Trailer: Full-frame. Trailer = yawn.

By rights I should have hated Dead Poet’s Society. I mean a bunch of Richie Rich’s aren’t satisfied with inordinate wealth and having the world at their collective doorsteps? Oh, my bleeding heart...

But no. When I first saw (and loved) this film as an idealistic young Uni student - bright-eyed and full of youthful enthusiasm – its unabashed endorsement of free thought and the more academic pursuits struck a particular chord with me. But even now, as a condemned cynic – my old idealism bent and broken from the weight of the world - I still love it. I laugh, I cry, and I even think about opening those old poetry books again. All these years on, Dead Poet's is still a wonderfully emotive movie experience.