Tag Archives: Dead Poets Society

Director Series: Peter Weir

The Truman Show (1998)

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Despite dealing largely with dramatic cinema, Peter Weir had the good fortune of working with two of the most gifted American comedians of this (or any) era. He drew out a defining performance from the late Robin Williams in Dead Poets Society, casting him as Professor John Keating not for the simple unconventionality of Williams in a “serious” role but more likely because Williams could convey passion in a way most actors of “serious” roles rarely can. Likewise, even though The Truman Show is pretty damn funny at times, Jim Carrey’s career in comedy matters little for his role as Truman Burbank — he’s perfect for it for another reason.

I didn’t always think so. On first pass Truman seemed to have more tragedy in him than the actor was able (or willing) to provide, especially considering that Carrey’s Joel Barish from Eternal Sunshine of the Spotless Mind fought a similarly paranoid crusade and through it became a beautiful tragic hero for our modern age. In this retrospective light Truman seemed caught in the middle between Carrey the affable goof and Carrey the tragic everyman.

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Director Series: Peter Weir

Fearless (1993)

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The Peter Weir we have today is one that seems to take his time releasing new films. It’s been four years since The Way Back, more than ten since Master and Commander, and nearly twenty since The Truman Show. Those most recent films of his are pretty great across the board, and perhaps the time and care taken with each is a major reason why. This wasn’t always the case with Weir, though: he released five films in the 1980s alone (Gallipoli, The Year of Living Dangerously, Witness, The Mosquito Coast, and Dead Poets Society), all of which were fantastic, and he had a pretty productive early ’90s too.

The film that forms the divide between super-productive Weir and less-so Weir seems to be Fearless, a 1993 drama starring Jeff Bridges as a plane crash survivor. For whatever reason, Weir took more time off following Fearless than he had since he first started directing (although one might find it hard to believe it was truly “time off”). From then on, a new Weir film would be all the more cherished for the infrequency now associated with it.

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Academy Awards, Featured, Golden Globes

Boyhood (2014)

This is Boyhood. This is right now. This is no ancient Greek tragedy; there is no intricate or precise or necessarily coherent plot structure. What this film is all about is in the title: Boyhood is the narrative of a young man growing up in a difficult and harsh world. This film will make you laugh hysterically, and it will make you cry. Watch this film alone for the first time. That way, you can let yourself truly feel it. That’s important, because this is more than a movie. This is a therapeutic exercise.

It is possible that I am partial to Richard Linklater’s film because: one, I am a boy; two, I share some of the same experiences that Mason (Ellar Coltrane) has had. I know what it is like to have divorced parents, and I know what it is like to see my mom cry. I know what it is like to be bullied and I, too, have often wondered why the world has to suck so much. Many of us have. Many more will. That is why this film is so truthfully beautiful. It captures such incredible, emotional aspects of human life and brings you back in time to the moments in your own life that are relatable to what is going on in the film. I cannot even begin to think of another film that has brought me so close to tears so many times. Boyhood is able to give its audience that inexplicable Dead Poets Society vibe. Just that feeling that makes the film relevant to life in such an actual and immediate way. This is the type of film that leaves you unsure what there is to do next. When you decide to sit down and watch this film, you effectively decide to spend the next three hours completely and totally immersed in and consumed by the universe of Boyhood.

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Director Series: Peter Weir

Dead Poets Society (1989)

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This article first appeared as a part of the Brattle Theatre Film Notes commentary series, presented by the Brattle Theatre in Boston, MA, for a double feature of Dead Poets Society and Good Will Hunting. Slight edits have been made from the original posting.

Robin Williams was an actor who selected his film roles very carefully. Despite his ironclad station as the greatest American comedian of his time, Williams acted in drama nearly as much as he did in comedy. One need only look to the shy Dr. Sayer of Awakenings or to the chilling villains of One Hour Photo or Insomnia to see the acting mastery Williams commanded.

On the surface, John Keating of Dead Poets Society and Sean McGuire of Good Will Hunting are two more of these “serious” roles that broke the mold for Williams the comic. There is no doubt that both helped to establish him as a master thespian regardless of genre. He was nominated for Academy Awards for both roles and won Best Supporting Actor for the latter, beating out the likes of Anthony Hopkins and Robert Forster.

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Director Series: Peter Weir

The Mosquito Coast (1986)

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In many ways our Director Series on Peter Weir can be seen as an excuse to write about The Mosquito Coast, which is the logical culmination of the “early stage” of the director’s career and gateway to those brilliant films that would follow (though calling that Weir’s “later stage” makes it sound like his directing career is a slowly advancing disease). Coast would follow Gallipoli and The Year of Living Dangerously – two well-received Australian films that helped launch Mel Gibson into superstardom – and Witness, which would prove to be Weir’s first American film. The greatness of Dead Poets Society would follow. It’s The Mosquito Coast, though, that’s arguably the most ambitious of any of these films.

And that’s fitting, because although Gibson’s Guy Hamilton and Harrison Ford’s John Book and Robin Williams’s John Keating could conceivably all be described as “ambitious” in one way or another, it’s Ford’s Allie Fox that allows his ambition to get the better of him. Fed up with just about every aspect of America, inventor Fox uproots everything and takes his family deep into the South American jungle. They make a new home – “home” a term used liberally here – on the Mosquito Coast, where Allie’s latest creation provides something magical for the local population: ice. Helen Mirren and River Phoenix appear as Allie’s wife and eldest son, who essentially allow themselves to be dragged into the jungle by this iceman simply because they love him.

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Featured

One Hour Photo (2002)

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The eyes of Sy Parrish deserve a spot alongside the eyes of Dr. T.J. Eckleburg in the hallowed Eye Symbolism Hall of Fame. Over the course of One Hour Photo we become increasingly aware of the fact that Sy, lonely photo tech at the local SavMart, is always peering into other lives, always consuming with his gaze, always watching. His eyes are obviously as much a part of his “hunting” arsenal as his camera – but they also provide a look back the other way into Sy’s dark and tortured soul.

Robin Williams is brilliant with dramatic material (see Awakenings, Dead Poets Society, Good Will Hunting, etc.), but the actor on display in One Hour Photo is a being unlike anything else in the extensive Robin Williams filmography. Sy the Photo Guy is a creep sure enough, a stalker of the first degree, and with a guy as manic and riffy and fantastically off-the-wall as Williams in the role you’d think Sy would be likewise larger-than-life. Not so. The opposite is in fact true – Sy is impossibly withdrawn, deadly quiet, suspiciously reserved as he observes and interacts with a couple and their son whenever they get their photos developed. The fact that we know Williams as a massive screen presence only makes the silences of this turn more unsettling.

And director Mark Romanek deserves as much credit for that as Williams, because the entirety of One Hour Photo is a spare but deceptively rich character study. Romanek has stuck mainly to music videos (and made the greatest music video of all time, Johnny Cash’s “Hurt”) but will hopefully create a film as quality as this in the near future. It’s Romanek’s direction and framing that calls attention to the deeper aspects of Sy’s psyche, in particular through a few key shots and sequences concerning the watchful eyes of Sy Parrish.

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