(1) The entire theatrical cast of twelve that starred in Alan Bennett's play in the West End reprise their roles in the film version; that is probably close to being without precedent.
(2) The film improves as it goes, but settles for an ending that too easily appeals to sentiment. This ending might have played better in the theater, where artifice can fly; it rings false in a realistic film adaptation.
(3) The male teachers played by Richard Griffiths and Stephen Campbell Moore and the headmaster played by Clive Merrison are all repellent individuals, or so they seemed to me; only the lone female teacher, played by Frances de la Tour, comes off well. The one moment when I warmed to one of the adult males comes during an excellent scene at mid-point, when Griffiths analyzes Thomas Hardy's poem "Drummer Hodge" in a one-on-one with Samuel Barnett (the best performance among the "boys"). This scene does capture the spark of genuine teaching and learning; it's lovely.
(4) All of the numerous gay men in the movie are attracted to straight men, never to other gay men. In particular they are drawn to the foxiest of the "history boys," Dakin (as women are, too, and Dakin is well aware of his omnisexual power). They read way too much into him. It's the old story of the need to project other qualities onto beauty, to provide some kind of emotional or even intellectual rationale for a basically hormonal response. Very smart people have fooled themselves that way; I know I sure have, although I hope (pray) to have outgrown it.
Breakfast is being served
3 years ago
