Sometimes the things you see or read become as permanent as those childhood scars that still linger on your knees. Dead Poets Society is one of those films with the power to mark you, but perhaps only if you open yourself up to it. Like many fantastic poems or paintings of yesteryear, a modern audience reads or observes these classic creations with a yawn (aside: I once had a friend tell me all black and white films were boring to her, she just couldn't be entertained without color). This lack of appreciation for what is old (and we might deem outdated) is the precise struggle John Keating faces in the film when he returns to prestigious Welton to teach. His impassioned words and unusual methods have a profound effect on some of his students. Keating states, "We don't read and write poetry because it's cute. We read and write poetry because we are members of the human race. And the human race is filled with passion. And medicine, law, business, engineering - these are noble pursuits and necessary to sustain life. But poetry, beauty, romance, love - these are what we stay alive for." Who wouldn't be altered by those words? However, for all of his motivational speeches and the profound effect it has on a significant portion of the class--strikingly in the final scene we observe that not everyone does stand with Keating when he makes his departure from Welton. That to me was a moving (chilling) as those who were the man who tried his best to help them think for themselves to 'seize the day.'
The message of those dead poets still exists in dusty books and films like this one, but it is up to the viewer whether they will do more than read the words and see the images.
Dead Poets Society, screencaps by me
Dead Poets Society, screencaps by me
One of the most enjoyable films I saw in the past year was Woody Allen's Midnight In Paris. While it begins with characters and dialogue typical of his movies, the film takes a sharp turn and throws us into 1920s Paris with a continuous stream of famous names from the artist revolution in 1920s Paris. The flood of characters is at times overwhelming (there's a dozen legendary artists around every street corner), but the story is executed so wonderfully that it's really just a playful romp through the popular fantasy of "what famous person would you like to have dinner with?" In fact, the entire film is playful; fun, light, and laugh-out-loud funny at points it's just a pleasure to watch without deeper probing. And while wistful for "a golden age" Woody Allen through Owen Wilson eventually rejects the notion of a perfect, happy past and embraces an imperfect present. It's a wonderful journey as a viewer to travel through; we experience the romanticism of Parisian cafes in the rain filled with flappers, but finish the film in our day with quiet acceptance.
I thought everyone had seen It's A Wonderful Life, but I recently spoke to someone who hadn't...so, now I'm recommending it. I can't think of a better Christmas movie, or really just a better example of the power of cinema. Jimmy Stewart gives a stirring performance and I dare anyone to watch this with a dry eye.
All About Eve is a stylish, witty film starring the indomitable Bette Davis (as Margo Channing), backed by an impressive cast of supporting actors. Directed by Joseph L. Mankiewicz, it has been referred to as the "best film ever made about American theatre." The dialogue won an Academy award and is still being referenced today; "buckle up it's going to be a bumpy night" has become dialect. But to simply view the movie as a clever insider's view of theatre and backstage backstabbing is to miss the director's intent and deeper themes within the work.
