Scene Analysis: Dead Poet's Society-A barbaric YAWP

Dead Poet's Society is one of those films which makes you want to curl up and re-think your life. Peter Weir seems to have perfectly captured the suffocating feeling of academic expectation along with the commonplace happenings of a teenager's life. The dialogue and screenplay is beautifully written (by Tom Schulman) bringing to life every single character, most notable Mr Keating (Robin Williams), Neil Perry (Robert Sean Leonard), and Todd Anderson (Ethan Hawke).

Although there are many superb scenes which I could happily go into, today I want to focus on this one. 
                             "I sound my barbaric YAWP over the rooftops of the world"

Taking place in Mr Keating's classroom, we interrupt a lesson where boys are reading out their poetry. We see some superb characterisation from Williams who captures the warmth and depth of his character with humour and a very sober, genuine tone.

As the camera pans over to Todd, we see him drenched in white light coming from the wide window, a visual hint of the "revelation" which he is about to experience. The scene now cuts sharply between Keating and Todd, showing the barrier Todd still tries to maintain between student and teacher; close-ups serve well to show Todd's squeamish embarrassment as he's asked to stand and talk in front of the class. The camera pans, following Keating from the writing on the blackboard back to addressing Todd; viewed from a slightly low angle, Keating seems to loom over Todd, who in contrast is filmed at a high angle, giving a sense of vulnerability.

 He's brought to the front of the class, and the camera moves outward to reveal the crowd of boys, a reminder of the humiliation he might face. The repetition of "YAWP" and the pushing cries from Keating builds up tension in the scene.

We zoom in as Keating runs towards us, looking like a cat about to pounce. Suddenly, Todd screams, triggering a whole new dynamic.

The camera follows Keating as he revolves around Todd; this could be symbolic for Todd's sudden "change of direction", new ideas beginning to spin and formulate in his mind. The slow pace but ever-changing background begins to build tension, and gives the sense of confusion and searching Todd must be experiencing,

"There, close your eyes, close your eyes, close 'em".

The scene shifts gear again. The contact between Keating and Todd is almost brutal, so sudden amd bizarre. The pair begin to spin, and soon the camera starts to follow, closely filming Todd's face and Keating's hand seemingly locked in position. The sense isn't confusion any more, it's absolute desperation. Todd's mind is rolling with new ideas, and he seems barely able to describe his mind's eye as Keating is urgently prompting him to delve into his poetic talent.

The camera zooms out now into a medium close-up, still turning around the pair, shaky with Todd's heavy breathing. However, it becomes much slower, showing a increasingly sure collection of thought. We cut slightly closer to Todd when the boys laugh, reminding us of his self-conciousness.

"Forget them, forget them, stay with the blanket, tell me about the blanket"

The camera's now at a low angle, Todd standing tall against Keating. Eyes closed he begins to conclude his ad hoc poem, the camera slowly zooming into his face.

We cut to a medium shot of Keating, now, having released the boy, staring up at Todd in awe. The roles have been reversed as teacher almost cowers before his student as we cut to Todd, now shot at a low, steady angle, hypnotised by his own words, determined to go on.

"...it will just cover your face as you wail, and cry, and scream."

Note the lack of music throughout this whole scene; it is treated with sacred silence, allowing the viewer to fully appreciate every syllable and every breath of what's spoken. We are absolutely absorbed into this scene, experiencing Todd's revelation as it's happening to him.

This piece is absolutely breathtaking, not least because of the outstanding acting skills of Williams and Hawke who have in all essence become their characters. It's so utterly inspiring, and I am yet to see a scene which has impressed me as much as this one here.

The Prince of Egypt: My favourite film, and why it should be yours as well...

               

IN MY OPINION, THIS FILM IS A MASTERPIECE FROM THE ART OF ANIMATION. The Prince of Egypt is a narrative tale based on the story of Moses, and how he rose from the princely courts of ancient Egypt to becoming the one of the most revered prophets in the Jewish, Christian, and Islamic faiths  The first time I can recall seeing this film is when I was three or four years old, and I've adored it with every fibre of my being since; not only is this film beautifully designed and crafted, but the sheer human emotion it manages to convey through its epic narrative is truly awe-inspiring.

I think what captivates me most about this film is its ability to make me feel intimately close to Moses' character; his relationship with his Pharaoh brother Rameses, his self-discovery and marriage during his stay in Midian, and the crippling responsibilities he has as a prophet, are all real to me. This movie washes, dries, and hangs your emotions out to dry. However, the beauty of this film lies in how delicate it can be (as well as living up to its epic genre title); quiet scenes mark reverent and powerful points in the narrative, giving free way for the voice cast to bring their characters to life.

                       

The medium of animation allows complete creative freedom, which is ultimately exemplified in The Prince of Egypt; not only is the actual animation satisfyingly fluid and lifelike, but the lighting, special effects, and scale of scenes are fine tuned to the mood and needs of the narrative. The fact that the film is animated also makes it approachable to younger viewers, even though it deals with fairly heavy subject matter, which I find as an admirable attempt to teach children about injustices which are faced even to this day

BUT WAIT, IT'S A MUSICAL TOO?! Yes, it's an animated musical which sits comfortably on the shelf alongside Disney's masterpieces such as Snow White or Aladdin. Hanz Zimmer writes the score, and Stephen Schwarts writes the songs, which are little pieces of art in their own right. The music in the film is its crowning glory, again bringing home the emotions felt by Moses, his loved ones, or even the masses he leads away into exodus.

I will never tire of this film, and I hope anyone reading this will give it the attention it deserves by watching this true masterpiece of a film.