This "GEM" of a film should be digitally remastered to preserve its cinematic integrity. The audio seems a bit "washed" and scratchy and some video portions skip and flutter a bit. This is a shame considering the quality of this fine production. Freddie Bartholomew is precious in this role and was a fine actor in his own right. There is an immediate chemistry generated between him and C. Aubrey Smith. From the outset there was no clash of generations, in fact quite the contrary, they got along swimmingly! It's just too bad that the Earl shunned Dearest right off, but I guess living alone and being lonely would take its toll on anyone, especially since his son married against his wishes. In any event, there should be more movies with actors of this caliber, especially nowadays when the world could really use a great "G" rated film without all the animation and special effects. This should be required reading in schools, if for nothing else, for the lesson in humility. GREAT FILM!!!


In 1880s Brooklyn, prissy Freddie Bartholomew (as Cedric "Ceddie" Erroll) celebrates his birthday by receiving a beautiful "highwheeler" from widowed mother Dolores Costello (as "Dearest" Erroll). When young Mr. Bartholomew takes the bicycle out for a ride, he is roughed-up by local bullies. But, Bartholomew fights back; and, he receives help from a swell pal, shoeshine boy Mickey Rooney (as Dick Tipton).

Dusting themselves off, the lads listen to grocer Guy Kibbee (as Silas Hobbs) rail against "British aristocracy," after learning of their arrival in town. The British are coming, ironically, to take Bartholomew home to England. As it turns out, Ms. Costello's once denounced late husband fathered the only heir to the title "Little Lord Fauntleroy". And, Bartholomew must prepare to inherit grandfather C. Aubrey Smith's Earlship.

In England, young Bartholomew (representing American idealism) clashes with gruff Earl Smith (representing British aristocracy). While that storyline reaches an obvious conclusion, there are others that make this film significantly more interesting than expected. Based on the classic story by (underrated) writer Frances Hodgson Burnett, it conveys some of the novel's nuances well, cleverly intertwining class, sex, and politics.

In the 1930s, nobody could put a production together like David O. Selznick, and this is one of his best. As usual, they start with a perfectly cast lead. In one of his best parts, Bartholomew fits "Little Lord Fauntleroy" like a glove; he's even better "suited" to the role than was Mary Pickford (in 1921's version). Bartholomew was riding high after supporting Greta Garbo in Selznick's masterfully realized "Anna Karenina" (1935).

Mr. Selznick liked to lure legends back before the camera, and succeeds with Ms. Costello; certainly, film-goers in 1936 couldn't help but be impressed with her billing - "Dolores" (a star on her own) "Costello" (as in Maurice) "Barrymore" (as in John) - the latter was used despite the fact that Dolores had recently divorced John Barrymore. Times change; nowadays, C. Aubrey Smith will raise more critics' bushy eyebrows.

You also get Mr. Kibbee, providing seasoned counterpoint for the upper-crusted Mr. Smith, and similarly dignified Henry Stephenson (as Havisham). Kibbee's last words reveal the story's one real downer, but he handles the role expertly (and, you see the seeds of Bartholomew's likely post-pubescent rebellion). Watching old/young soul-mates Kibbee and Mr. Rooney perform together is a delight; and, Rooney is likewise marvelous.

By the way, note director John Cromwell's simple, but stately, direction; smoothly tracking, he moves the story perfectly. Mr. Cromwell and the Selznick crew make the film into one of the era's better-looking productions. With photography by no less than Charles Rosher and music by Max Steiner, it's unfortunate this lost "Best Picture" received no award notices. If Selznick produced it at MGM, there'd have been nominations.

The well-staged street scenes and beautiful sets are obviously highlights, with the opening sequences most impressive - but also noteworthy are simpler scenes. For example, later in the production, as Rooney and Kibbee shine each other's shoes, a singular paperboy is added to the background. Note the horse-drawn carriages, storefronts, and passersby throughout - this film is richly detailed, but never over-decorated.

Taking a trip further down the credits, watch for great expressions from maid Una O'Connor (as Mary); the extraordinary Constance Collier (as Constanzia Lorridale), who inspired Joan Crawford and other legends; bratty Jackie Searl (as Tom Tipton), who gave Bartholomew a run for his money; lovable scene-enhancing Jessie Ralph (selling apples); and, listen for Helen Flint (as Minna Tipton) to exclaim, "What a hole!"

********* Little Lord Fauntleroy (4/2/36) John Cromwell ~ Freddie Bartholomew, Dolores Costello, Mickey Rooney, Guy Kibbee


The above reviewers and this site summarize this great retelling of the still-read Little Lord Fauntleroy book. So I won't summarize, but just briefly add my cheers & jeers.

Why does this tale (awash in sentimentality in Francis Hodgson's book of the same name) - yet LIVE ON? Anime and even a Russian version are recent. It's still a great tale!

The 1936 LITTLE LORD FAUNTLEROY movie is basically like the 1930's movie HEIDI in one key way...i.e. the GRANDFATHER connection:

A prodigal people-hating even life-hating old grandfather is brought back to the human race and to his God - by the love of a kind and good grandchild.

In this great (but technically damaged) David O. SELZNICK quality family film, ....The old prodigal GRANDFATHER (the great Sir C. Aubrey Smith as the Earl) is brought back to the human race by his kind and good grandchild Cedric Errol (Freddie Bartholomew, the top male 1930's child star).

************** Wade thru the second-rate copy of this movie ...and hope that - the studio does a quality restoration of this great film.

NOTE: the current worldwide interest in LITTLE LORD FAUNTLEROY should make it worth the studio's while to issue a QUALITY restored edition of 1936 LITTLE LORD FAUNTLEROY. Just make sure to dub it in Russian, Japanese and many other languages!


(Hopefully there are no spoilers, but I'm not sure and may let something slip)

After watching this film several times, I cannot imagine why it was not presented in theaters. It is an engrossing film set in an era that shames America and her reputation as a free nation. It is set during the cold war when the government was seeing reds under everyones bed.

Jeff Goldblum is wonderful as Herb. The whole cast is very good. This film points out how while the government was out hunting Communist, they were behaving exactly like the Communist they were so worried about and feared.

Everyone should view this film. It could happen again. Freedom of speech should not be taken lightly.


"One of the Hollywood Ten" attempts to tell two fascinating stories: one about writer/director Herbert Biberman and the other about the filming of "Salt of the Earth." This film could not have had a very big budget, and the direction is not very good, so how anyone expected to accomplish these massive feats is anyone's guess.

I am at a disadvantage: I can't possibly write anything that can compare to the comments about this film posted on IMDb, and I haven't seen Salt of the Earth. I did, however, grow up amidst the Red Scare. We in Catholic schools were warned by the nuns that the commies were coming. They would hold guns to our heads, ask us our religion, and when we answered "Catholic" (like we were all going to be real anxious to do that), we'd be shot. Communism was going to destroy the world, there were Communists under every bed, and everybody was insane on the subject. I have read and seen a good deal on HUAC, the McCarthy hearings, and Red Channels. Am I an expert? No.

I will reference a couple of the IMDb postings. One states that Gale Sondergaard was NOT a major actress and that Biberman was a minor writer. I'm unsure of the implication the poster was trying to make, but I venture to say that if Biberman and Sondergaard (who were married for 40 years, until Biberman's death in 1971) had been allowed to work for the next 20 years or so, who knows what might have happened to their careers? This insanity ruined lives.

Another poster made a comparison to tactics used by today's government. Well, I'll second that emotion. As he states, freedom of speech is not to be taken lightly. No, it isn't. And if anyone believes there isn't a move afoot to squelch it today, they're wrong.

Others mentioned inaccuracies. I'll bring up one. According to writer Patricia Bosworth, whose father, attorney Bartley Crum, defended the Hollywood Ten, the "Hollywood Ten" were not friends, and in fact, many of them did not know one another. Crum advised them all to tell the truth at the hearings -- that when asked if they were now or had been a member of the Communist party, to disarm the committee by answering truthfully. This was shot down by whomever their adviser was because asking about anyone's political leadings is unconstitutional, and the Ten wanted to fight the hearings on constitutional grounds. In the film, one got the impression they were all friends. Crum, by the way, labeled a subversive, was haunted by the FBI until he finally got rid of them by killing himself in 1959. Also, I know this is off topic a bit, but the FBI's largest file was on Frank Sinatra, who was believed to have been sent by the communists to influence the youth of America. Great group.

As far as this film, the stories were interesting, the direction was detached, and overall, it's not great. Jeff Goldblum is marvelous as Biberman, and there are some other excellent performances as well. I think the most important thing were the points made on the chirons at the end, one of which is that Salt of the Earth is the only film ever to be blacklisted. I am so grateful that it was; otherwise, we would all be communists today. Right.


(There May be Spoilers)Freed after doing a six-month stretch in a federal prison for contempt of congress Hollywood writer/directer Herbert Biberman, Jeff Goldblum, as well as his actress wife Gale Sondergaard, Greta Scacchi,future in the world of the movies and theater in America is all but over.

Being the most out-spoken of the so-called "Hollywood Ten" Herbert was especially singled out by the US State Department with him having his passport revoked making it impossible for Herbert to even get work as a writer and director of movies in friendly countries overseas.

Herbert is in for one the biggest surprises of his life later in the movie when his friend and fellow Hollywood Ten, and fellow prisoner, film director Edward Dmytryk, Sean Chapman, became a friendly witness to the HUAC Committee and ratted out six fellow travelers, members or former members of the Communist party, with him being one of them.This just about sealed Herbert's coffin with no way from him to redeemed himself from his past activities and being branded a "Dirty Commie Rat" for the rest of his life.

It so happened that the year 1954 was a year of destiny for both Herbert Biberman and Edward Dmytryk with both of them directing a movie of high quality that stood the test of time over the years.Edward Dmytryk directed "The Caine Mutiny" for a major Hollywood studio with top stars like Humpret Bogart Van Johnson and Fred MacMurray. Herbert Biberman directed a film about the true story of a labor strike in Silver City New Mexico by low-paid and overworked Mexican zinc mill workers with a cast of non-actors but the very workers and their families as the stars.

Baseicaly a movie within a movie "One of the Hollywood Ten" zeros in on the efforts it took to film and later release the ground-breaking "Salt of the Earth" and how the FBI together with a bunch of paid-off local goons tried to prevent that film from ever seeing the light of day.

Herbert who was socially conscious all his life and joined the Communist party back in the 1930's. Not because Herbert had any love for Joseph Stalin's Soviet Union but believed, unrealistically, that Communisum was the only way that those hundreds of millions exploited by the big corporations can get their share of the wealth that they provided for them with their hard and back-breaking labor which they got paid next to nothing for.

The filming of the movie "Salt of the Earth" was constantly harassed by the US government with it's star Mexican peasant Rosaura Reweitas, Angela Molina, being kicked out of the US, on a bogus passport violation. This had Herbret film Rosaura's scenes in Mexico and had them smuggled back into the US to be edited into the movie. Rosaura final scene in the film is so touching simple and powerful that it ranks right up there with the final scene in "Grapes of Warth" with Henry Fonda.

It took until 1965,over ten years, for "Salt of the Earth" to be released in the United States. "salt of the Earth" showed the American people how the mass hysteria of the late 1940's and 50's Communist witch hunts did far more damage to the American way of life and US Consitution then what all the subversive activities of all the Soviet agents in the US combined could have done.


I thought this film did a fine job of portraying the ugliness of the US government in the repressive McCarthy era. Goldblum is excellent in his depiction of the courage it took to stand up to this tyranny and I found it very inspirational. In particular his attempt to confront the panel during the hearings in Washington was very well handled and it made me deeply consider how I would hold up in similar circumstances. I also appreciated the tenderness and commitment the he and his wife showed to each other. A mature portrayal. I recommend it. 7 stars out of 10.


The comments on this film to date are some of the most intelligent and knowledgeable I have yet to read anywhere on the imdb site. Even those who have little use for the ideologies of the original Hollywood Ten writers and directors present some views about the film itself that make sense. It is almost as if this drama within a movie production about another movie has taken on a life of its own.

I am particularly struck by the comments of people who actually knew either the real characters or the actors who portray them in this production. How often does one get to read that kind of material? Truly impressive.

The film itself is without much life, unfortunately. It looks about as much like the real Silver City as some place in South Africa, with extras frequently standing around ogling the camera while Goldblum et al. speechify. I knew it was made in Spain, but why? Even the Greyhound bus sign is completely bogus for its time. And there are very few real Mexican-Americans who look or act like Spaniards, even the criollo descendants of New Mexico colonists from the seventeenth century.

My own grandfather was a member of the union who worked the big copper pits near Silver City. He would have laughed his head off at this lame depiction of the ongoing troubles between labor and management that were far more complex and life-threatening than anything portrayed here. (And continue to a lesser scale in the mines around here even today.)

The real Gale Sondergaard I will always remember as the quintessential German spy who scared the life out of me back in the early 40's.


I thought this was a well-made film by a director of integrity about another director of integrity. It showed the devastating effects of HUAC witch-hunts on the careers and families of brilliant filmmakers in Hollywood, during the late '40s and early '50s. It exposed the split between those who were able to withstand the crass interrogations and those who failed. It was possible to identify with the tragedy of those who were jailed and feel joy when they found a way of escaping from their victimization. I attended a showing of the film with the director answering questions about his film. I was struck by his humility and empathy.


Director Karl Francis once again totally fails to distinguish himself with this clumsily directed drama about McCarthy blacklisted writer-director, Herbert Biberman. Subtle and intelligent performances from Jeff Goldblum and Greta Scacchi are totally wasted in this otherwise uninspiring little film. The cinematography is fine; the editing makes the best of what it has to work with, which is not much. The problem lies entirely with the direction, which fails to pack even the slightest emotional punch, which is quite a feat considering the source material. What's worse is that it is liberally sprinkled with the kind of sickly B-movie idealism that I thought mainstream cinema had grown out of in the mid-seventies. The results come over as amateurish and basically unintelligent, not even worth a straight to video. This movie is a master class in how to ruin a great idea with incompetent direction. Please Mr Francis, just stop making films - nobody is interested.


Although everything I know about this era comes from reading about it, nonetheless One of the Hollywood Ten seems to accurately depict a darker side of our history during the Cold War years when Communism was a threat to our country. (If this was real or a perceived threat is controversial).

However, One of the Hollywood Ten does accurately tell the story of Herber Bieberman and his trials and eventual conviction of being branded a communist by the US Government, and the ramifications this had to not only his life, but also that of his actress wife as well.

Well written and excellently acted, One of the Hollywood Ten is certainly worth watching.


Saw this film on TV. Came in about half-way. I met Juan and Virginia Chacon when I was organizing steelworkers in the southwest. I also met Francis Williams (no relation) an African-American cultural worker who played an important role in developing the script. yes, the movie is didactic and preachy--but so is Salt of the Earth. Unless you are Pauline Kael, you can't help but be moved by it.

I show Salt of the Earth to my students and I wonder how I can get a copy of this film to show them as well?

James H. Williams, PhD Department of Social Work Savannah State University Savannah, GA 31404


This film tells the story of Herbert Biberman (Jeff Goldblum), who is blacklisted at the height of the anti-communism movement. Listed along with him are Michael Williams, a screenwriter (Geraint Wyn-Davies), producer Paul Jarrico (John Sessions, who does a fine American accent) and Edward Dmytryk (Sean Chapman). Biberman is thrown in prison because he and his wife, actress Gale Sondergaard (Greta Scacchi) refuse to "name names" of communist friends. Later on, the film deals with the making of "Salt of the Earth", which tells the story of Mexican mine workers who decided to strike due to unfair practices. Biberman first casts his wife in the lead role, then replaces her with Mexican actress Rosaura Revueltas (Angela Molina). Sondergaard, who has been unable to find work for years because of her husband, is very upset by this, but continues to stand by her husband. I think this is a story that needed to be told, but I think the direction could have been better. All of the performances were excellent. I don't think that this is a "must see" film, but it's worth seeing if you are interested in this period of history or are a fan of any of the actors in the film.


I can't understand why this film made in 2000 directed by Karl Francis hasn't been made into a video or DVD. It shows the problems of The Hollywood Ten without preaching to the converted, and is very moving and well acted. We sympathise with those characters who are caught up in the tragic McCarthy era and imprisoned for their left wing views. It could well have failed as it is a hackneyed subject but the director managed to give it a fresh, humanitarian perspective. Once the cast enters into making a film or their own, The Salt of the Earth, the rhythm shifts and the relief is immense that they are safe from persecution. At the preview, the director's integrity matched the heroism of the lead actor. I strongly recommend it.


I saw this movie on the Starz channel. I'd never heard of it. I watched it because I thought that Jeff Goldblum, being a star, would pick good projects. This movie is one of his poorer choices.

Theres not much I can say about this film other than it was boring and preachy in a very amateurish kind of way, with B-movie style dialogue and unconvincing performances.

I walked away from watching this mess not giving a hoot or a holler about the Hollywood Ten, Salt of the Earth, the Blacklist and above all this dreadful "student" film.

In fact I hope I never hear about it ever, ever again!


My main objection to this movie is that it only shows one side of what the blacklist was all about. The men on the list wrote many films between them always showing one side of a story, making the little guy the victim & big business the villians, This is what irked the powers in both Washington & Hollywood, Since in the thirties & early forties,there many left wing sympathizers in Hollywood. There was an overraction by our government.& the reign of terror began. NONE of this is talked about, I liked Greta Saachi as Gale Sondergard WHO WAS NOT a major actress, She won here Oscar for her first performance & was in supporting roles ever since, I felt Goldblum was effective as Biberman also a minor writer of films,

 as always

 jay harris


It was without lasting regret and with deep satisfaction that, last night, I buried "One of the Hollywood Ten" to the innermost depths of my mind, hopefully never to see the light of consciousness again. I had followed the progress of this production for some time and was curious as to the outcome. I won't spoil the film for the uninitiated, who love to waste their time, by editorialising the film's content, for there is hardly any content!

I knew very well of the Hollywood Ten and their struggle. But after 50 years and a couple of infinitely more superior movies I feel this topic has had its day and should, like the negative of this movie, be buried deep, deep underground.

I have two reasons to gripe about "One of the Hollywood Ten". Firstly, it is hideously amateurish and fatally miscast with awful, cliched one liners that haven't been heard since Roosevelt was inaugurated President. There is little or no dramatic build up and some of the performances are so bad they have to be seen to be believed. My other reason for disliking this film is that it was made with money that could have gone into productions run by younger, newer and more competent people.

Shame, shame, shame on the British Lottery rep who green lit this film for financial consideration. It really makes me question who is in charge of dispersing "film" lottery money. Did the BBC or the Lottery seriously think they would make a profit with this mess?

Modern, "hip" producers I am sure love to make fun at the British film industry of yesterday for creating in the 40s, 50s and 60s so called "mass entertainment". But Arthur Rank, Lew Grade etc knew how to entertain an audience, and the BBC and the British lottery could well take a leaf from their books.

With public money being spent on this preachy rubbish we don't deserve a film industry anymore.


"I loose my mind at all, and then I fall in love."

Love was in your eyes. Paris by night, in twilight, on jazzy evenings, on a rainy afternoon, on a sunny morning - High life in the fifties with Horst Buchholz and Romy Schneider as the two lost souls struggling for their love and life. This film is overloaded by dashing and lively scenes. Horst and Romy were the biggest movie stars in Germany at that time and in this film together they are better than ever. Horst "Monpti" is a Hungarian artist with no money and no company but a little duck called Napoleon. He meets Romy who seems to be less or more lonely than he is. Yes, a very romantic film and also a comedy ending up as drama. Zaza sings "Don't play me that shadow blue". This German film about lovelorn long ago is a real gem to be discovered. "Your love will stay in my heart."


It is a widespread superstition that when a book is filmed, the movie is usually inferior to the book. The most probable explanation of this groundless idea is that many people have read this or that book, say, Tolstoy's 'War and Peace'. When they learn that the book has been filmed, they are induced to go and see the movie. And often they become disappointed. By contrast, only a negligible minority will first see a movie, discover that it is a filmed novel, and therefore read the book. I happen to belong to this minority. And I am capable of presenting a long list of books which turned out to be inferior. Gabor von Vaszery's novel 'Monpti' is merely one example among many others. However, von Vaszery also wrote the script for the movie. I have carefully studied every difference between the movie and the novel. It is my view that in each and every case the film version is superior if assessed in itself, while the book version fits more properly into the work as a whole. But I also claim that the film version is invariably so much improved, that only a formalist could prefer the book version. Besides, the movie is also superior whenever there is no obvious difference between both. - - - In my youth I thought that Romy Schneider is beautiful, but not more beautiful than many other actresses or even extras in her own movies. I also meant that she is a skilled actress but not more skilled than many others. Later, my fascination was caused by two movies, 'Monpti' and 'Claire de femmes'. I was 53 when I saw 'Monpti' for the first time. Whether or not it is a subjective idea, I still think that 'Monpti' is the best German movie ever made.


Days of yore, the streets of Paris, order and mess, people and buildings, cars and traffic, and... a middle aged man that wants to tell us a story, partly humorous, partly sad one: a love story...

The movie begins in a pretty strange way, particularly when we consider the year it was made in. It seems to be too messy, without any order, beginning so much in the middle. Nevertheless, the opening 5-10 minutes explain what the action is going at. We soon realize that it is the main hero who speaks to us and attempts to tell us something that means much to him.

Yes, that is what MONPTI will leave in your memory most. It is a beautiful, innocent STORY about genuine love of two poor young people who meet by chance and fall in love. Monpti (Horst Buchholz) is a young man who makes a living painting pictures and selling them in Paris. He is lost, lonely, confused in many situations but...happiness comes to him through a young girl Anne Claire (Romy Schneider) whom he once meets in a park and with whom he falls in love. She is very young, beautiful, innocent but there is one problem about her which Monpti does not see: all she tells him is an illusive lie about her alleged chauffeur, wealthy family and engagement. Yet, how straightforward, how naive these lies are! She lives in the fantasy of wealth and feels good about it or at least more comfortable. However, their youthful love and joy comparable to kissing three oranges is contrasted with another couple who are considerably older and who live in luxury comparable to cold elegance and restrained emotions. This overly rich couple is there for some purpose, as the narrator tells us...

The movie's another advantage, except for the aforementioned story, are its many humorous moments. Although MONPTI is rather sad in its content and sometimes even melancholic, it is filled with wonderful humor that will appeal to various viewers. I loved the scene in a luxurious restaurant where Monpti is so confused how to behave, how to eat being so close to "flames of fire"... The whole sequence with a little duck, Napoleon, is also very amusing. The duck is simply all he (Monpti) has, except for love, that he can offer Anne Claire - lovely little Napoleon lost in such a hilarious situation. Considering humor, I should also mention Monpti and Anne Claire's first meeting in the park: "Did I really say that?" wonders the girl and the boy takes everything so seriously...

Another aspect of the movie is the title melody, a song that Monpti once puts on when Anne Claire visits him. It has melancholy, affection but also a great fun and vitality in some parts and, as a result, fits to the movie really well. The rising and declining tunes indeed express the emotional states of the main heroes: Hungarian in Paris who finds himself in the most unexpected circumstances, a poor girl who dreams to be rich and independent. To this artistic aspect, I have to add the performances of the two: Romy Schneider and Horst Buchholz. They fit as a couple and act convincingly. You just watch and feel as if it's a real young couple head over heels in love.

There is one more aspect that I have to mention: the historical one. Keeping in mind that the film was made in 1957 in Herzog studio, it is a purely German movie (just to remind the fact that Herzog is famous for many movies by Ernst Marischka, the director of SISSI). Yet, it puts aside the style of most German and Austrian movies of that time: what we find in MONPTI is the lack of linear plot, there are flashbacks showing dreams and fantasies; there is a mixture of comedy and drama addressing social situations. The contrast put on the couples appears to represent the thought provoking problem of social discrepancies: the rich and the poor and how the two groups regard the world. Dreams refer to the Freudian psychoanalytic theory of man with his desires and, consequently, German cinema partly contains the surreal. The lack of linear action resembles the superiority of character development to story itself. Therefore, the movie is something innovative for 1950s German cinema. It is also another movie that "cured" Romy of the sweet image of Sissi and constituted a "preludium" to her French career (of course not the only film doing that but an important and an early one - 1957).

MONPTI is a nice underrated film about simplicity, youthful joy, pure affection that all young people may get through when they only want to. It's also a wonderful insight into a change introduced in cinema. Highly recommended! 7/10


This film could be a real gem if it would not be a fake; it is largely sustained by the great performance of the 2 actors, also there is a pleasant and fortunate choice of characters around them, the screen play has wonderful passages but ... the whole is incredibly wasted under a ton of moralistic non sense mainly anti sexual: the lovers go around spending their passion in thousands of kisses but never are able to complete it with what you are expecting they must do; instead here is the punishment; after the last stupid, unbelievable and meaningless misunderstanding the girl run away and is knocked down by a car; he visits her at the hospital all seems OK but when he comes again the doctor says she is dead; what do you expect him to do, perhaps bursting into tears? Not at all, he's chilly, calm and serene as it was exactly what he was hoping from the romance. Pure Christian style: the woman who thinks to sex dies.


When I was seventeen years young - or old if you like - a lot of things were complete secrets in our home. Twelve children and a serious but very Catholic father was married with a clever and soft mother. The two of them had to take care of seven sisters and five brothers. My father was allowed to read the fist translation of the Bible in a Roman Catholic translation. That was new in the Roman Catholic world.

The four books were well translated, nicely edited and professionally published by the Petrus Canisius Foundation. One evening I went to a cinema and saw the amazing movie 'Monpti' (French for Mon Petit that in fact should be 'Mapetite' for a girl like Romy Schneider.

The author of the original book was Gabor von Vaszary who wrote it in German although he was a born Hungarian. The soft and one of the best German film-directors, Helmuth Kaütner, made a fine film with no nonsense but a lot of simple and - only economically - cheap. I have wondered if it is possible to make a new version with the same respect for youngsters who take life serious but make it a joy because real love has that power... joy in life.

The best friend of my father was a Member of the Dutch Parliament. He understood my hidden attack on the extremely severe rules of the Church. And strangely enough: he defended my thesis on the strict rules of the Institution. We had a good chat that opened to me the door to life as it is and not as it should be organized by a world strange religious Institution. About a year ago I read von Vaszary's book and was flabbergasted about the language of Kaütner's movie en von Vaszary's text.


A bunch of young adults go deep into the woods to a remote cabin and tell each other several scary urban legend-style stories. First and coolest vignette - A diminutive albino Bigfoot creature stalks a teenage couple who find themselves stuck in the middle of nowhere after their car runs out of gas. Second and most frightening tale - Three college fraternity pledges spend the night at an old abandoned hospital that's said to be haunted. Third and most disturbing yarn - A mousy, repressed young coed turns out to be a deranged murderess. Finally, our motley group of young adults discover that the local legend of a vicious Indian wind demon isn't far-fetched in the least. Director James L. Wilson and writer Richard H. Wadsack neatly craft a fun and engrossing omnibus outing that eschews the usual graphic gore and bloodshed in favor of creating and sustaining a potently creepy and nightmarish midnight-in-the-graveyard gloom-doom atmosphere; the opening credits sequence in particular is very chilling and the conclusion packs one hell of a terrifying punch. The isolated sylvan setting projects a truly unnerving sense of dread and vulnerability. The spirited shivery'n'shuddery score by Don Zimmers does the flesh-crawling trick. The pretty, fairly polished cinematography by Robert E. Rogers likewise hits the spot. Moreover, the game no-name cast all contribute winningly sincere and enthusiastic performances. A shamefully neglected and unheralded drive-in terror treat.


a film i first saw in 1979 at the drive in. i was very young, but the'green room' story really shook me up. seeing the film years later it's a really odd and weird film. there's a weird aura to the whole film. its very amateurish, but a lot of it really works. the great ending is bizarre, but haunting. overall a good film to watch for the anthology fan. it's not easy to get hold of. but originals on VHS do exist, though any DVD is a bootleg as of this writing. i'd say overall it really fits the times, as it was filmed in the late 70's. the acting isn't great, but it is pretty fitting for the film. and i'd expect the 'green room' episode to be the favorite story to most.


Quinton Tarantino included this flick in his 2007 LA Grindhouse Film Festival, and the print was not only from his personal collection, but he introduced the movie himself at it's first screening. His praise followed the lines of the review appearing at the head of this IMDb comments section: this was innovative in 1978 (I saw it first in its test market run, before it got national distribution). Tarantino asserted the belief that it was the first of the "kids-go-to-the-lake" scare flicks; that it was innovative in its "stories-within-the-story" for the genre; and, that for the dollars, the acting, directing, camera work and special effects are pretty damn good. And they're both right. It cost less to make and test market than the production of the average regional TV spot today. More trivia: note the name of the sound mixer: Ron Judkins. Two-time Oscar winner. William Ragsdale: "Fright Night", etc. And look up Gil Glascow in IMDb; he's worked steadily all these years.


Are we all watching the same movie here?? I'll admit that SCREAMS OF A WINTER NIGHT is a great title for a movie, and a sound premise which would eventually be put to better use: Nine or ten college aged acquaintances who don't seem to really like or even know each other take a road trip to a summer camp cottage closed for the off season where a gruesome mass murder (oddly heard but not seen during the opening credits) took place 30 years prior. On the way they stop at a local hick cracker gas station operated by what appears to be the evil twins of the Beverly Hillbillies, who try to warn them off to no avail. So far so good.

The problem begins when the kids start sitting around telling each other ubran legend-ish scary stories to pass the time. Which would be just fine except that they seem to be telling each other these stories because they don't have anything else to talk about. There is no exposition, no character development, and no visible bonds exist between them except for one couple who don't even have sex on-screen since the movie was only rated PG.

Then there is John, the knucklehead who organized the road trip. To call him annoying is complimentary. He is insufferable. The idea was to try and portray his character as some kind of a nerd or dork whose family used to frequent the cottage. The film unintentionally does a good job as setting him up as a potential lunatic who lured his associates to this setting just to brutally murder them all, but no dice. He's just annoying and we don't even get the satisfaction of watching him die in an amusingly ironic manner after being inflicted with his presence for an hour plus.

The horror anthology angle is interesting though, and all three of the stories shown have effective moments. The CREEPSHOW films are still the modern day kings of the horror anthology tradition, one that stretches back to the 1940s with the incomparable DEAD OF NIGHT, another classic being Mario Bava's fabulous BLACK SABBATH from 1963 and the overlooked H.P. Lovecraft collection NECRONOMICON: BOOK OF THE DEAD from 1992. Usually a horror anthology has some sort of linking story connecting three or four segments that each tell their own twisted tale of the macabre. The unique angle this time is that the stories are actually populated by the people in the linking segments as sort of alternate identities.

Which could have been a great idea except that the people are so unlikeable that the story segments don't serve as a reprieve from their company. There's one really odd part when the "kids" start tapping & clicking out a rhythm which slowly builds into a cacophony that drives one of the females into a rage. I would have cold-cocked them all for being so childishly obnoxious. They don't even seem to be drinking from the empty beer cans they wave around as props, and John's antics of deliberately trying to startle the females in the group quickly becomes unlikely. Somebody would have knocked a couple of his teeth out for being such a dick and split the scene. It isn't funny, it isn't scary, and the tension that builds is not based on fright but a diminishing ability to be patient with him.

Eventually the film does build to a satisfyingly gruseome supernatural climax that apparently took so much of the movies' low budget production cost that the filmmakers appear to have literally run out of money while four of the ten were making a frenzied escape through the woods. The movie ends with a freeze-frame of them running hand in hand, and I can't help but wonder if maybe the last few minutes of intended action was abandoned at the film lab when they couldn't afford the processing bill.

So again I ask, are we all watching the same movie here? I enjoy low budget regionally made horror movies starring no-name talents and have a particular fondness for anthology chillers. But the legends surrounding the film are more interesting than anything which takes place on screen. One of the college dorms used for one of the story segments is rumored to be haunted, and maverick wunderkind Quentin Tarentino has championed the movie, supposedly owning his own print which he screens for people who don't know any better than to go do something else just because it's Quentin Tarentino showing it. He could show old toothpaste commercials and people would watch in rapt awe.

The film was pioneering in the sense that it did beat "Friday The 13th" into theaters by over a year with a story of college kids being menaced at an off-season summer camp. And it also proceeded THE EVIL DEAD with a story of college kids sitting around a disused cabin running afoul of some sort of hyperkenetic supernatural force of evil. But since this evil is never explained and the summer camp angle isn't ever explored as a setting the result is a null-sum gain. They could have been anywhere, the summer camp angle only serving as a device to make it more difficult for them to seek out help when their lamps start running out of fuel. Which might be the most frightening aspect of the movie: Being stuck sitting around in the dark with John and his creepy, disturbing sense of humor & not even having a radio to listen to. A college road trip to a disused cabin with no tunes? Come on.

So I just don't get it. My expectations were perhaps a bit high, especially based on the title which suggested a winter time setting and horror hijynx involving snow, sleighs, rusted shovels, colorful scarves, lost mittens, homicidal Christmas elves, maybe a possessed snowman. If you ask me it looks like they made the wrong movie. Great title though!

4/10


this is a movie i saw with the 5th floor back in the day when it came out at the drive in .... some of the scenes in the movie stuck in my head some 30 years later until i tracked down a 15.00 copy off ebay... re-watched it and now I'm not taunted to find it anymore but do not regret getting this nostalgic scary cult classic... worth the watch BUT you must keep in mind that you have to put yourself in the year it came out to watch it not the year were in... that way you can fully appreciate the special effects that were 'from' the day not today.. because they obviously don't compare... well its definitely worth finding... pay for the copy not original that can run you 200+ dollars from places that actually still have a few... thats all... enjoy...


I rented this film way back in 1987. I had never heard of it and the PG rating had me expecting the worst. Still I love horror films so I gave this a try. I saw it on a dark, cold winter night. There was a snowstorm going on outside, I was alone in the house and I turned off all the lights. Under those conditions this film scared me silly.

The opening is all sound effects against a black screen of something attacking a family in their house on a winters night. It gets in and kills them all. Very effective--the sound effects are realistic and NOT seeing the monsters makes it all the more scarier. That opening alone is worth seeing this for.

It's an anthology movie--a bunch of kids telling horror stories around a campfire. The movie is tame (remember--it's PG rated) and the stories are kind of predictable but the middle one got me going. It's about a bunch of guys spending the night in a deserted, supposedly haunted house. They're on the first floor...and then they hear noises on the floor above...THAT scared me silly. The ending was REAL bad but, for a while, that had me shaking.

So, it's not a good film, but there's something about it that really works. I (cautiously) recommend this.


Film sequels were a novelty in 1925, when DON Q, SON OF ZORRO marked a big profit for United Artists. Then and now, it is considered to be a better film than the original, THE MARK OF ZORRO (1920), which made star and producer Douglas Fairbanks the personification of the Swashbuckler five years earlier.

Since his screen debut in 1915, Fairbanks had always been cast in contemporary comedies as a fun-loving, never-say-die, go-getter who gets the girl and catches the bad guys  all the while exhibiting his athletic prowess and bravado. He was a major film actor, but his popularity was beginning to wane due to the monotony of his roles and vehicles.

The formation of United Artists Corporation in 1919 gave founders Fairbanks, Mary Pickford, Charlie Chaplin and D.W. Griffith control over their own projects. Fairbanks chose this opportunity to risk reinventing his image by starring in this film adaptation of The Curse of Capistrano. The serialized novel written by Johnston McCulley had been published that year in a popular pulp magazine. It introduced the character of Zorro to the world. The magic of the movie assured Zorro's place among fictional super-heroes. The character lived on in several more film versions as well as books, comics, cartoons, Halloween costumes, toys, and in the popular 1950's television series starring Guy Williams.

In THE MARK OF ZORRO, set in early 19th century California, Fairbanks came up with an ingenious concept  showcasing his likable contemporary stock character into an action/adventure period costume picture. He plays Don Diego Vega, the milksop son of an affluent rancher who, like the Scarlet Pimpernel, dons a disguise to defend the impoverished townsfolk from the tyrants in power. His alter ego Zorro's, (Spanish for fox) trademarks are the black cape and cowl mask he wears and the master swordsmanship he displays. He is known to brand his victims with a "Z" made with three fast strokes of his blade. At the end of the film, after Zorro's greatest triumph, his identity is revealed. He throws his sword into the air. It lodges into a high spot on the wall, as Zorro shouts, "Till I need you again!" Though it was probably not Fairbanks' intention at the time, this line was a prime set-up for a sequel if there ever was one.

After the tremendous financial and critical success of ZORRO, Fairbanks continued to give the public what it wanted  the charismatic Fairbanks persona in lavish period epics. THE THREE MUSKETEERS, ROBIN HOOD and THE THIEF OF BAGDAD were all released in the years between the two Zorro epics.

As one can easily discern by the title of this follow-up, Doug is back as Diego's son - namely Don Cesar, aka "Don Q." The screenplay is based on the novel "Don Q's Love Story" by Hesketh Prichard and Kate Prichard which had no relationship to Zorro at all. But by making Don Q the offspring of the famous hero, it cashed in on the audience's familiarity with the original and made it possible for Doug to play a dual role as both father and son.

In the family tradition, Don Cesar is sent to Spain to continue his education and learn the traditions of his ancestors. His high-spirited ways and showmanship with a bullwhip make him a favorite of the Queen's cousin, Archduke Paul of Austria (Warner Oland). Cesar also makes an enemy of surly Don Sebastian (Donald Crisp), a member of the Queen's guard, and both men fall for the beautiful Dolores de Muro (Mary Astor). After Cesar is framed for murder, he fakes suicide and goes underground until he can prove the guilt of the real killer. Meanwhile, in California, Don Diego receives word of his son's predicament. He retrieves his sword from where it had stuck thirty years before, digs out his mask and cape and travels to Spain to help rescue his son. Father and son take on 15 soldiers in a sword fight during the film's exuberant finale.

Audiences and critics alike loved DON Q even more than the original. Film-making technique and technology had improved rapidly since 1920. The sequel had a stronger plot, higher production values and better pacing. What's more, Fairbanks has fine-tuned his swashbuckler persona to perfection. He was never was he more cocksure, flamboyant and amusing than he appears here. Though already 41 years old, he easily got away with playing a much younger character in no small part due to his physical fitness. He is shown to great advantage, engaging in sword-play, jumping on a horse or  his specialty in this film - cracking a whip. Well known for performing his own stunts, Doug reportedly spent six weeks learning fancy whipmanship. He uses it to light a cigarette, extinguish a candle, slice paper, lasso a bull and swing onto a balcony. He also shows himself to be a dandy on the dance floor in a parody of a Valentino tango.

Donald Crisp, best known for his chilling performance as Lillian Gish's cruel father in BROKEN BLOSSOMS, does double duty in DON Q as both co-star and director. He plays Fairbanks' dastardly nemesis Don Sebastian while directing one of his best films. Crisp directed more than 70 films, including the Buster Keaton classic,THE NAVIGATOR. He got his start in the movies in 1908 with the Biograph Company and appeared on screen for the last time 55 years later as Grandpa Spencer in the 1963 film SPENCER'S MOUNTAIN that starred Henry Fonda. Crisp died in 1974.

The New York Times thought so highly of DON Q, SON OF ZORRO, that they named it one the 10 best films of 1925.

While enjoyable on TV or home video, the movie is twice the fun when watched with live accompaniment and an audience as I was fortunate to experience at Cinevent 2006.


Sprightly, only slightly less appealing sequel to Fairbank's first outing as Zorro. Here as Zorro's son, we also get some neat whiptricks and the sight of 2 Fairbanks (as Zorro and his son) in addition to the usual acrobatic stunts. The plot concerns Don Q being sent to the "old country" to study. He ends up framed for a crime by the corrupt officials of the Queen (who are made jealous when Don Q saves their commander from a bull with his whip, impressing the Queen with his courage). Zorro must come over to help him prove his innocence and defeat his enemies in battle.


After his artsy fantasy "The Thief of Baghdad" freaked everyone out, Doug got back to basics with this sequel to his first swashbuckler, "The Mark of Zorro" -- and concocted a meticulously designed, take-no-chances star vehicle. The sets, cast, and screenplay are all impressive but, as always, it's the Fairbanks persona -- an odd combination of pragmatist and dreamer, magician and acrobat, lover and fighter, rogue and moralist -- and his endless bag of tricks, gags, and stunts that sets the film apart from, not only 1920s action spectacles, but those of his successors: Jackie Chan, James Bond, and Indiana Jones.

Of his later pictures, perhaps only "The Gaucho" tops this one for sheer excellence in filmmaking.


Dashing Douglas Fairbanks (as Don Cesar de Vega) is the son of the legendary "Zorro", in this spectacular sequel to Mr. Fairbanks' own "The Mark of Zorro" (1920) *********. The younger Fairbanks has been sent to Spain, where he cracks his whip, and soaks up local color. There, he falls in love with pretty Mary Astor (as Dolores de Muro); watch out for the great introduction to Ms. Astor's character, as Fairbanks places wings on her silhouette. You know trouble is brewing when dastardly rival Donald Crisp (as Don Sebastian) is spurned by "belle of the Archduke's ball" Astor. In a fit of anger, Mr. Crisp assassinates Archduke Paul (as Warner Oland), and frames Fairbanks for the killing. Then, Fairbanks fakes his own suicide, and sets out to prove his innocence; eventually, he receives help from father "Zorro" (Fairbanks, in a dual role).

"Don Q, Son of Zorro" is a tremendous sequel, from Fairbanks and company, who wisely viewed follow-ups as a chance to equal, or improve upon, earlier hits. Not surprisingly, it lacks the spontaneity of the earlier film, and it is, perhaps, a little too long. However, the overall production is superior, and the storyline refreshingly unique; as "Don Q", and his story, are quite different than the original "Zorro". Crisp is very helpful, as both villain and director. And, Henry Sharp's photography is top notch.

The cast is terrific: alongside the aforementioned, you have Fairbanks regular Charles Stevens (as Robledo) in one of his more showy roles, otherwise humanitarian Jean Hersholt (as Don Fabrique) playing Crisp's blackmailing nemesis, famous sibling Lottie Pickford (as Lola), and Albert MacQuarrie (as Colonel Matsado) gets to ask Fairbanks: "Who the hell are you?"


Like his father a generation before, a young Californian caballero must fight against treachery & evil in high places.

DON Q SON OF ZORRO was Douglas Fairbanks' rousing sequel to his previous hit film, THE MARK OF ZORRO (1920). Much more expansive & elaborate than the first film, Fairbanks shows what he's learned about producing silent swashbucklers in the intervening five years. Mixing history, spectacle & lots of action, Doug always gave his audience their money's worth.

By this point in his career, Fairbanks was the absolute master of the swashbuckler. Whether romancing a fair señorita, fighting off hordes of enemy swordsmen, or jumping all about the architecture, his infectious grin & superb athletic prowess never fail to charm the viewer. And here he gets to charm twice, playing both father & son very nicely.

Doug is given wonderful support from three excellent character actors: Warner Oland as a silly Austrian Archduke whose foolish behavior precipitates the movie's crisis; Jean Hersholt as a social climbing buffoon who gets more than he bargained for; and vile Donald Crisp (who also directed) as the villain who wants both Fairbanks' life & sweetheart.

Although given little to do, Mary Astor is still a lovely heroine worth the fighting of several duels.

But this remains Fairbanks' film. His powerful personality & spectacular stunts not only dominate the movie, but also have ensured him an unassailable niche in Hollywood history.


There are certain films that get under your skin, never to come out. They change your life, subtly altering your perceptions of reality, almost always for the better.

Dead Poets Society is one of those few films.

I saw the movie back when I was in High School. I had a teacher who told us that we really needed to watch it; in fact, it was our "homework" for the day. We didn't need to bring back a report, or talk about it in class. All he asked from us was to watch it, make up our own mind about it, and that was it. As you can imagine, many friends of mine didn't watch it at all; I did. And yes, I feel I changed a bit from there on.

Back when you are young, you never really stop to think what in the world you are doing with your life. You simply live for the day, hope your grades will be enough to pass, and that's it. Long term thinking involves maybe flirting with a girl. Nothing more. What this film showed me was that we have the responsability and the joy of being alive in this planet. That we are dust, and we will go back to it, so we have precious little time to make a difference. That we have a moral obligation to "seize the day, and make our lives extraordinary" (my favorite quote in all movie history). That the world, basically is ours. That the only limitations are within ourselves, and that we owe it to us to fight, to rebel against conformity, to change what we hate and keep what we love. That living in this world is a beautiful responsability, and that only cowards dare not to change it for the better.

The fact that the cast was basically my age, and was passing through the same dilemmas and situations I was facing made it all so much more powerful.

So here I sit, 12 years from that day. I still don't think I have seized the day completely. But I keep on trying; I always will. I wonder how many people were transformed by this gem of a movie; I hope many.

10 out of 10. A definitive masterpiece.


First of all, this is movie is my all-time favorite, out of all the hundreds of films I have seen. However, every time I mention this film, I have to answer most people's quizzical looks with "It's a beautiful little 80s film that stayed in the 80s." After seeing it for the 24th time since I first saw it 5 years ago, on my 13th birthday, I can gladly say that this movie went far and beyond the 80s, and the power and inspiration of the message can be felt every day.

Dead Poets Society is a most underrated film by a most underrated director whose inspiring, uplifting and moral tales firmly grounded in reality are not nearly as appreciated as they should be. Here, we see one of his very personal and cradled projects, and he shows the visual style and concentration on characters in which he is so affluent. His control of the camera and the characters are very strong and very smooth. The cinematography is near perfect, with every shot, along with the editing, seamless. Also very compelling are the color-tones in every scene, perfectly matching the mood and events of the scene. Could you say this is art? Absolutely.

Then we have the performances. Robin Williams continues in stride as one who has to-date remained the most touching, heart-wrenching, awe-inspiring comedians with inarguable acting talent (he still remains my most favorite performer on the film screen). His Professor John Keating is a man who embodies every professor who you thought was cool and respectable, every person who taught or enlightened you in something out of the ordinary. In fact - dare I say it? - he teaches something EXTRAORDINARY! We have the tragically underrated Robert Sean Leonard in his role as the free-thinking catalyst student Neil. Why is this man not a household name/Hollywood heavyweight? His roles are always full of inspiration, energy, and tragic emotion that never fail to move an audience. His role in this movie is fresh, unhindered, and never pretentious as the cautionary tale of the movie. And then we have Ethan Hawke in one of his earliest roles as the point-of-view character. The entire supporting cast is very strong, also, providing the foundation and serve as the various emotional ties that further involve us in the story. Josh Charles's role as Knox Overstreet is a role that almost all guys can relate to wholeheartedly. And of course, all the actors who are in that Dead Poets Society do a fine job.

And lastly, the story. I won't summarize it since it's been summarized many times here, but I will say that it is one of the best coming of age stories for not only adolescents, but anyone. I have personally heard from nine-to-fivers who were inspired by this movie to change the situations of their jobs, careers, relationships for the better. I first saw this movie when I was 13, and immediately stamped, crowned and elevated this movie as my all-time favorite. Now that I am 18 and living on my own, with very different concerns than back then, I turn back to this movie over and over again, to find inspiration, solace and of course, entertainment. It is still my all-time favorite, and it still inspires me to seize the day and make my life extraordinary.


I have no need to summarize this movie seeing as how most people tend to do that anyway so, therefore, any addition of such would simply be frivilous. However, I am somewhat disappointed to see how people tend to misinterprate this film by proclaiming that the movie's message of carpe deium is derailed by the fact that those who apply it end up losing. This could not be further from the truth. In the beginning, when the young men are first introduced to this idea of sucking the marrow out of life it is applied by the students when its results prove to be fun and joyous. The point really driven home by the movie though is to stand up for one's beliefs throughout all of life no matter how hard it may prove. Now, while the character of Neil, does try to do what he feels he must without regard to his father, in the end, he doesn't stand up at all, but simply accepts his father's authority. Some may not like it but his story serves to prove just how important it is to stand one's ground no matter how hard it may be. It's not only his character, but in fact every character in the film that does not fully understand Mr. Keating's message until the very end by finally doing what they feel is right now matter how much the opposing forces deny this basic truth.

I urge everyone to give this movie a chance and to see it for what it really is. It may just change your life.


Not only will this movie touch your heart and bring tears, it will inspire you to be a better teacher to others and to follow your dreams no matter what the boundaries may be. It is truly poetry on the screen... a great story and a touching social commentary on humanity and life's greatest challenges. If you haven't seen it yet, rent it now. It has taken my love of poetry to an entirely new level!


The film Dead Poets Society is a film that explores the idea of "Carpe Diem" (seize the day) from the viewpoint of a classroom of young men at an all boys boarding school. Their teacher Mr. Keating (played by Robin Williams)helps them stretch their minds, and exercise their right to defiant acts of love for life and poetry, rebuttlng society. The director Peter Weir treats you with eye candy by using various camera shots of beautiful scenary, and neat techniques. Weir takes you on a roller coaster that leaves you gripping your seat, enjoying life, and thinking "Carpe Diem" in your own life. There are some very depressing scenes, but they are very artful, and teach you of appreciation for those brave members of society that dare stand up for their beliefs, and rights to wrestling around with life. I thought Ethan Hawke (Todd Anderson) gave a true life twist to the film, Robin Williams (Mr. Keating or also known as Captain my captain) added an element of excitement, and Robert Sean Leonard (Neil Perry)added passion that leaves you mesmerized. I just saw this film in English class, but I immediatly fell in love with it, as I know you will.


I watched this movie today for about 15-th time. I'm never bored with it. A few hours ago I felt lonely and depressed.I decided to watch it without the scenes that evoke sadness.And even though I watched it so many times before I found it restorative and heart lifting. There are many good films.Also there are probably many better than this one;cause it's not flawless. But if you believe that a movie can change your life, I have no doubts that this one can influence you as no other. If you have not watched it yet, WHAT ARE YOU WAITING FOR? Go to the video rentals and buy it.Yes, don't rent it but buy it.It's a movie that you will watch many times.Perhaps it will even save you..As it had saved me..


Dead Poets Society is, to use a cliché, a cinematic masterpiece. I can watch it over and over, absorbing more nuances of meaning every time. As a former teacher myself (albeit of science), I view it as a tribute to the profession at its best...teaching not merely the subject but also the person, and having a lifelong impact on students' lives.

The setting is Weldon Academy, a very traditional New England boys' prep school in 1959. If I can find one flaw with the movie...and there certainly aren't many...it's the underlying premise that seems to worship free thought and implies that ALL tradition is of necessity undesirable and thus to be avoided. Frankly, compared to modern classrooms which are bastions of free expression, I found the Weldon students' respectful treatment of their teachers rather refreshing. (But perhaps that's just the ex-teacher in me coming out!) Some of Weldon's ideals, generally referred to in mocking tones, are actually qualities to which parents rightfully DO hope their offspring will aspire.

Robin Williams plays Mr. Keating, the English teacher we all wish we'd had. He brings warmth, passion, and an endearing quiet humor to the role as he fosters individualism in a school environment of total conformity, endeavoring to teach these young men both the beauty of the English language and the importance of living life to the full, of "seizing the day". How many of us mentally revolted at the dissection of poetry when we were in school? Many a viewer will both chortle and rejoice when Mr. Keating has his class rip out the methodical, emotionless "Introduction to Poetry" from the time honored Pritchard textbook!

The "Dead Poets Society", and the boys on which Mr. Keating has such a profound impact, include an interesting mix of characters...Neil Perry (the passionate young man at odds with his father's clearly defined expectations for his son's life), Todd Anderson (the classic shy adolescent, through whose eyes we view the unfolding drama), Charlie Dalton (the quintessential rebel), Knox Overstreet (the teen with whom most viewers can identify, deep in the throes of first love), and Richard Cameron (the mindless conformist).

Ethan Hawke gives a moving performance as Todd, the younger brother of a former Weldon valedictorian and my personal favorite, who undergoes a character transformation as the plot unfolds. In a sense, this movie is really Todd's story. As another reviewer has wisely pointed out, his best scenes are sometimes when he has no dialogue at all. Your heart will ache for him. The sub-plot of young Overstreet's romance with a girl from a nearby school may not be brilliant, but it provides some light, entertaining relief from the main drama.

Needless to say, Mr. Keating's unorthodox approach meets with obstacles...from his fellow teachers, from the school's ultra traditional Headmaster, from Neil's overbearing father and the other parents, who are depicted as a conservative, status conscious lot. His encouragement of adolescent individualism leads to dramatic consequences for one student in particular, triggering a dramatic scenario that engulfs most of his classmates. I don't want to give the plot away, but Dead Poets Society has the most powerful ending I've experienced in the cinematic world. I could watch it over and over, and tears would either come to my eyes or virtually stream down my cheeks every time.

It's an intelligent film, both gripping to watch and thought provoking afterward. Engaging plot, memorable characters, meaningful theme, wonderfully done scenes and atmosphere...Dead Poets Society has it all. A special tip of my hat to the cinematography; clearly, it should have won an Oscar for the final scene alone.

This is a must-see movie, especially if you're a high school student who hates English. It might just change your view of the subject, even if your actual teacher doesn't quite measure up to Mr. Keating. And for everyone...not only "Carpe Diem", but a certain phrase from a Walt Whitman poem will take on incredible meaning and be remembered forever.


Dead Poets Society is a thoroughly moving, and inspiring film from Peter Weir, who is definitely one of the most under rated directors around. This movie is in the same vein as "A Separate Peace", in the sense of setting, and in the general coming of age story line. The basic message is to "suck the marrow out of life", as the passage for the society reads, or to live every moment to the fullest. It is inspiring and uplifting for the first hour and 15 minutes or so, before changing stride altogether to a somewhat depressing but remarkable conclusion. This is a must see.


I'm impressed. It was an all around good film. Perhaps I'm biased - Robert Frost's poem, A Road Not Taken, was quoted - yet so many other things were as well.

It's not about poetry. It's about how you look at the world. How you look, how others look... how you think, how you feel... and a warning to never, ever become conformist (though being conformist about walking is perhaps slightly exaggerated). Never become conformist - always make up your own mind.

I liked the music, as well. The bag pipes give a certain special touch.

I gave it an 8/10 - a high score for me.


There is a scene early in DEAD POETS SOCIETY wherein Robin Williams, as a new literature teacher at an upscale boys prep school, tells his class that he wants them to learn to think for themselves. To this end, he orders them to tear out of their text books pages which feature commentary by the book's editor. "Think" he seems to be saying, "but first, let me censor this book."

Free thought through censorship? I can only assume the said literature book includes Orwell's "1984."

In Orwellian fashion, hypocrisy is the order of the day in DEAD POETS SOCIETY. It gives a rousing, inspirational sermon ("Seize the day!" is the teacher's motto.), yet the story itself mocks the film's supposed intentions. DEAD POETS SOCIETY is about failure, but it won't admit it; worse, it seems to believe it's own inspirational PR. The film serves up a tacked on and utterly false moment of triumph at the end, but everything that proceeds that is a lesson in failure. Williams fails to teach the students to show moral courage. One student commits suicide rather than fight for his beliefs. When Williams is wrongly accused of something, his supposedly adoring students turn on him like a pack of weasels. The one student who stands up for his ideals is expelled from the school and forgotten by the film. A father fails his son. The school fails its students. And the film fails its audience.

Yet, for some inexplicable reason, people remember the film for its inspirational message: Seize the day! Carpe Diem! Fine words, but at no time are they supported by the empty pessimism that the film displays. The characters who do take chances are immediately and soundly punished. Those who knuckle under -- showy, petty acts of deviance aside -- plod along.

Williams is okay as the teacher, but all credibility is lost when he stops to toss in imitations of Marlon Brando and John Wayne. Robert Sean Leonard comes off best as the doomed student, though his suicide seems remarkably undermotivated. Kurtwood Smith offers up a wholly unconvincing stereotype as the doomed student's martinet father.

Thanks to Peter Weir's efficient direction and some nice cinematography, DEAD POETS SOCIETY has a facade of class; but only if you don't pay too close attention to Tom Schulman's dreadful (though Oscar-winning) script. The irony is that a film that begs you to think is best enjoyed if you don't.


In a sense, this movie was indeed the celebration of Dead Poets the world over !

Dead Poets Society ! I am guessing a large number of you, like me, were expecting a bunch of spooky irregular events at the mutter of that name. Certainly wasn't to be, it is an inspirational odyssey which will make you pounce upon time and reclaim your life. Carpe Diem and the spirit that John Keating (played by Robin Williams) stands for could easily be misinterpreted by the turn of events in the movie, especially Neils poignant death. To do so is to completely miss the point. The spirit of Carpe Diem lies in the painstaking eventualities which one will have to brave to follow the lead of passion and fervor.

Robin Williams plays a professor of poetry, John Keating at the prestigious Welton School, with a management making sufficient hay with the schools continual academic shine. His particularly unorthodox methods of teaching soon make one realize that poetry is not something to do with rhyming words or fantasy lands, but that poetry is in effect a direct means to ones disposition in life, a disposition which would ring success in all avenues. His students soon change their very outlook towards life indulging in activities much to the displeasure of the academically unbending deans of the school. Harvesting discontent against Keating, the deans soon latch on to the one opportunity(or misopportunity I must say) that comes their way in the form of Neils death to see the removal of Keating from the school and the teaching profession.

The last few minutes celebrate every individualistic spirit to let you segue into a illusive reality. A young Ethan Hawke playing an even younger student redeems his professors every drop of sweat with "Oh Captain ! My Captain !" . Watch the movie and you will see why ! At least for half an hour after I watched this movie, I managed to drive mans favorite cliché "Life Sucks!" into oblivion. I suppose the students at Welton were not the only ones Professor John Keating inspired.


A film that continually defies expectation, whether it is through the plot, characterizations, or performances of the actors. While you may not end up where you expected to, you are ultimately glad you went along for the ride.

It's 1959, and at Weldon Academy, tradition is everything. Weldon, however, is about to be shaken up by the arrival of John Keating (Robin Williams in an unusual dramatic turn), who encourages his students to look at things with new eyes. Among those who take his message most to heart are Neil Perry (Robert Sean Leonard), son of an overbearing and unpleasant father (the truly evil Kurtwood Smith), and his roommate, Todd Anderson (Ethan Hawke), ignored younger brother of a previous Weldon valedictorian. While the students who form the "Dead Poets Society" have good intentions, participation in the group leads to Neil's defiance of his father, which in turn leads to tragedy. Todd has mostly been an observer throughout this, but the loss of one of the few people who cared about him, and the potential loss of another finally bring him out of his shell, and allow him to take his first stand.

This is an interesting script, in that it leads you to believe you're going to have a happy ending, and then snatches that ending away so quickly you hardly know what has happened. Before you can catch your breath, a suicide has occurred, the surviving parents are hounding the school, teachers and students are turning against each other, and the truth is buried under expediency, leaving the viewer wondering what was being taught in prep schools in the 1950's. In the end, Keating is used as a scapegoat to appease the anguished father, but the film leaves one more lesson to be taught before Keating leaves Weldon forever. Unfortunately, several plot points introduced prior to the suicide are simply dropped after it, leaving the viewer wondering what happened to the budding romance of one of the students and a town girl, as well as a few other things that just get left rather than addressed.

The setting of the prep school works rather well in this film, making it almost a world unto itself. The stone buildings represent the unchanging tradition valued so highly at Weldon. Nothing moves the stone; nothing changes the school. This further emphasizes the gulf between the students and the rest of the world on the occasions in which they enter it.

In spite of the flaws in the script, the performances are uniformly strong. Smith is the epitome of evil, oozing malice out of every pore in every scene he is in. Unfortunately, this works against him when he loses his son, in that we feel no sympathy for him at all. Williams gives a surprisingly restrained performance as Keating. What comedy there is in this film does not come from him. He plays Keating as a man of passion and integrity, who accepts his fate with grace and class. While Leonard can be a bit cloying, he does an excellent job of portraying Neil, especially the vulnerability which is behind the bravado. The most remarkable performance in the film Hawke's Todd. Not only do you see wonderful character development, but some of Hawke's most expressive acting occurs when he has no dialogue at all. It is through Todd's eyes that we see the end of the film - his upset that one of the Dead Poets Society has turned traitor and gotten another expelled, his disbelief that the others have joined in the persecution of Keating, and his inability to take a stand against that injustice. Most impressive is the scene where Todd watches Keating pack to leave the school, rather than pay attention to class. Todd has no dialogue throughout, yet Hawke's portrayal is so skillful that you see everything he is feeling, and the buildup to his outburst. A truly unforgettable scene.

This is a movie with an unhappy, yet satisfying ending. An injustice has been committed, but it has also been recognized, and perhaps a lesson learned. A thoughtful film, well worth watching repeatedly.


Actually, the topic of this film could be quite interesting. Its narrative, as I view it, is characterised by the move from bad to worse. It offers considerable psychological insight into how easily students, in a very strictly ordered environment that gives them very little freedom, can fall pray to a kind of sectarian leader who demands that they worship him as their 'captain' and lose the sense of reality.

Two very different faces of totalitarianism are contrasted in a very interesting way. In principle, it should not matter that much that this is probably not what was intended.

Dostoyevski, for instance, was a staunch conservative who propounded a conservative nationalist and religious ideology, which did not prevent him from writing novels that show an astonishing variety of ideological and philosophical topoi. Therefore, it should not matter that much that, as it seems, the totalitarian action of the teacher was probably intended as a positive contrast to the strict order that is there at the college. But, in my view, in this case, the ideological purpose nevertheless affects the quality of this film. It is good for provoking thought about sectarian totalitarianism, but that's all. The pervasiveness of the ideological purpose dominates the whole story so much that most of the interesting qualities of the situation get lost.

I would say that this is a most typically American film, in the slightly derogatory sense this word often has to Europeans when used in cultural issues: It is dominated by ideas, such as freedom, but the words remain empty, devoid of liveliness, and there is not the slightest hint of the idea that flight from authoritarian order could mean something else than following a sectarian leader. I do not object to depicting such bleakness in movies, and it must probably be regarded as an achievement of this film that it can produce such repulsion in people who are not familiar with this kind of authoritarian society, but the bleakness is disguised in such a nice and kitschy American stereotypes, such as striving for freedom, that I find it just bad taste.


Standing on the Pinnacle of Giants

A secret domain of poets deceased, enlightens the men whose numbers increased. Assembled in class, they march with a stride, undaunted and strong with Keating aside. Passions intense, his lectures draw ears, like sheep of a flock, the Shepard of hearers. Expressions conveyed and rules provoked, the school of Welton becoming evoked. A boy with much flame who soared to the skies, accepted advice, unknowingly died. Unfortunate loss to teacher of choice, remember his words to raise your own voice. Now but a legend his message relays, be your own person and still "Seize the day!"


Best known for it's (in)famous 'oh Captain my Captain' sequence, Dead Poets Society's biggest problem is the clichés it invented for the high school movie drama. Today's jaded audiences might smirk at such examples as the shy boy finding the confidence to express himself through the help of a rebellious teacher, or the purity of youthful romance, but to the film's eternal credit, this was fresh ground after a decade of teen sex comedies. Dead Poets Society's teenagers aren't simply lust crazed hormone bags that wander into embarrassing social accidents every fifteen minutes, they're a tad more realistic...for most of the film at least. When the movie ventures into darker territory in the closing quarter it falters, becoming an awkward attempt at manipulating emotions that jars against the promising story told in the beginning.

Set in a prestigious school where the upper lips are stiff, the shirts stuffed and the emotions repressed, a class of teenage boys find their new English teacher John Keating (Robin Williams) taking a slight detour from the established curriculum. Encouraging them to think outside the box rather than be restricted by school-approved guidelines, he not only provides them with a full appreciation and love of poetry, but also a fresh mindset that focuses on seizing the day and acting on impulse. Soon, the boys are exploring various avenues of life (one becomes an actor, another pursues a local girl etc...) while their parents look on disapprovingly and the identikit old-fashioned teachers with grey hair and suits start trying to interfere.

What is most striking about this whole enterprise is that despite its reputation, there isn't a laugh to be had anywhere. This is not a Robin Williams comedy-drama, it's just a drama and the comedian suits the role perfectly. He is convincingly charismatic and just sentimental enough to stop you from choking on your own vomit, this is Robin Williams the actor, not Robin Williams the clown. However, he's also more of a supporting character, as the chief focus is on the boys (including Robert Sean Leonard and Ethan Hawke in their younger days) and they all play their characters well. Hawke is probably the best, his tearful breakdown in a snow covered field being surprisingly effective, but they all hold their own against the more experienced actors.

Shame then about the closing part of the story. With a sudden about turn, the film changes from an account of the individual versus the machine into a teenage suicide yarn all too quickly. This wouldn't be a problem if more time had been taken, but the character involved seems to decide to kill himself with as much ease as the rest of us pick what to have for lunch at work. And while I'm not an expert on teenage depression, I'd like to think it takes more for a young lad to blow his own head off than simply running into life's first obstacle.

Dead Poets Society therefore is ultimately a promise that wasn't completely fulfilled as the subtle, intelligent storytelling is blown out of the water by the mishandling of the closing scenes. Consequently, if you're anything like me, you'll spend most of the film trying to guess which kid pops his clogs. It's an enjoyable and involving drama, but as a tear-jerker it fails to move. Williams is excellent as always though and for seventy five percent of the time, Dead Poets Society is a great film.


"Dead Poets Society" is more than a lesson of life. It's a hymn to life. It has a good message: "Carpe diem", which means "Seize the day". I completely agree with that message because there's no coming back and time flies.

It's a reasonable movie with an inspiring story, good message, great performances from the actors, wonderful sceneries, awesome soundtrack (classical music, for example), drama and comedy.

John Keating is the kind of teacher that anyone would like to have as a teacher. A teacher with such a colorful imagination and sense of humor, a teacher who inspires his students to make their dreams come true and makes their lives extraordinary. I mean, wow! John Keating is brilliantly performed by the comedian Robin Williams. In general, Robin Williams is as humorous as usual in this movie, but we can also see some of his talent for drama.

Besides this incredible teacher, other great characters are: Neil Perry, Knox Overstreet, Charlie Dalton, Steven Meeks, Gerard Pitts, Todd Anderson and even Richard Cameron (although he has the power to anger us at the end because of his attitude). All of them are very well played by the actors.

About the boys, Charlie Dalton aka "Nuwanda" is the funniest of all. He's just hilarious! "Nuwanda" is such a funny nickname - lol.

Todd Anderson is a shy character portrayed by Ethan Hawke. This actor looked so different when he was younger and his role here is completely different from (for example) "Before Sunrise" and "Before Sunset".

Mr. Perry (Neil's father) is a complicated character. Like Kurtwood Smith himself says, «he's understandable, not likable». He doesn't let Neil do what he wants and controls all of his life and future.

The ending is somehow... empty: Neil dies and "Nuwanda" is expelled. But the boys's homage to Mr. Keating at the end is admirable. What's even more amazing is that it is started by Todd Anderson.


I've seen this movie a lot of times,in fact,I bought it after I saw it the first time and I'm still always looking for time to watch it again. In this movie we can watch pretty good performances;emphasizing one or two of them would be unfair because they all are incredible,however I can say I consider Robin William's performance in this film the best of all his filmography. Technically,the whole crew made a unquestionably good work.The BSO worthy of an Oscar is mixed with wonderful landscapes caught with a brilliant photography. Peter Weir surpassed himself too with his work in this film. This film changes the audiences lives and make them feel into the film,because they talk about problems and subjects present in our society and make the audience think deeply about them as well as Mr Keating does in the film.After seen it everybody wants to "be more",and you feel you can "be more" if you simply "SEIZE YOUR DAY".


Well acted light drama with talented young and mature actors that show excellent chemistry between them.

Robin Williams delivers an over the top (but justified) performance as the "cool" teacher that is against the rigid manners of a conservative college for rich and spoiled young men. His students love him because he teaches them to squeeze and suck the day, "carpe diem". Most of the students have little or absent right to choose what they want from life as their parents are more or less than dictators. In their philosophy class, they can dream and act they way they want and that's why they think Williams' character is a hero or something like that.

Sadly, one of these students as any other young optimistic men follows his dream and becomes an actor against his father's will. He has the talents and the optimistic point of view but soon after he makes his debut in a play, his father punishes him the hardest way a father can do.

Watch "Dead Poets Society" to witness how men at a young age can be very optimistic with their ideals. The movie also shows that learning methods don't necessary have to be rigid or antiquate. But the movie is truly more than that; it's a moving movie with the usual family humor.

Great performances by Williams and Hawke who demonstrated to be a promising actor.


SPOILER!!! I completely loved Dead Poets Society. It's definitely my favorite movie of all time. all of the actors are amazing, and i follow some of the actors work now... namely Robert Sean Leonard, Neil Perry, and Ethan Hawke, Todd Anderson. Great film, would recommend it to anyone, any time!! When Neil kills himself at the end of the film, I cried, cause i loved him. He was such a good guy, including Todd at the beginning when he had no friends. What i liked the most about Robert's character is how he was friends with everyone. Everyone was sad when he died, and though the other boys had their 'Tiffs' he wanted everyone to be friends. On a whole, great script, great cast, great sets and great MOVIE!!


After having seen some of Peter Weirs other films(The Plumber,The Cars that ate Paris,The Green Card.)i decide to watch this.I have to say i feel this is one of his best films,thats a very strong character-driven film. The plot: In the 50s,new student Tood Anderson is sent to the same school where his brother did fantastically.While he is trying to play things down about his brother,he starts getting on with people at the school and gets a friend(Neil.)The thing that changes them is the new English teacher Mr Keating,who Tells them they should "be themselves" and not "act like sheep".Tood and Neil find out that Mr Keating used to be in a club called The Dead Poets society.After hearing about this,Tood and Neil decide to re-open the club to get themselves "Free",this will sadly end with one of them tacking there own life.... View on the film: The screenplay:written by Tom Schulman,while the film has a bit of a thin plot,Schulman makes the film feel like a really great European-type character driven film.The other things that is done very well is the change halfway into the film,where it takes on a very dark turn.While most movies would find it hard to change gears like that,this movie does it really well. The cast:The cast do a really good job at making the people feel very real.You can feel Williams moving away from his (very good)comedies,to giving really great performances for dramas.But,the main stand outs are Ethan Hawke and Robert Sean Leondas as Tood and Neil.They both give really great performances that make you feel they really are friends,and that when Neil dies,Hawke does a great job at showing the sadness he has,for losing a friend in such a sad way. Direction:Peter Weire does a fantastic job,at showing how the film (over the films time-line)changes.From something that looks really picture-perfect,that could be from an old faded photo album,to some very dark and disturbing images.(With very strong religious overtones-aseptically in the suicide scene.)But Weire always makes sure that the characters are the centre piece of the film.The other thing Weir did great and was very different (at the time) for getting a really good,serious performance out of Robin Williams. Final view on the film: A really great character-driven film,with a great cast,direction and a very moving story.


This movie is incredible. Robin Williams shows that he has potential as a dramatic actor, not just FLUBBER and JUMANJI, material. He plays the wonderful role of Prof. Keating and inspires a class to think for themselves. There is some great humor in this, too. "Mr. Pits... live above your name." "Cccaaaarrrrrppppeee... Cccaaaarrrrrppppeee Diem..." "RIP! RIP IT OUT! Goodbye, Mr. J. Evans Pritchard, PhD. I want to hear the sound of more RIP!-" and then the headmaster steps in. And the "phone call from God... if it had been collect, it would have been daring." But all of this humor sets you up without knowing for Keating's fall from grace due to the suicide of one student (who I won't name). So, incredible.


Dead Poets Society is an extraordinary movie that has a lot of meaning. When i watched this film, i found it unlike anything i had ever seen before, it shows you how one teacher can inspire and the change the life for A student, giving the confidence to find their path. I can say that when it comes to a great drama movie, Dead Poets Society should be on your 10 choices list. It may not have won the best picture Oscar, but most importantly, won the people's hearts.

Robin Williams plays an English teacher called John Keating, working in a very prestigious and strict school. He is new to the academy, and has different teaching methods that acquire the students fascination to the subject. No longer are they bored of English, but are dedicated to it, thanks to the teaching methods pf Williams. He teaches his students to stick with their individual beliefs and follow their individual passion. Seize the day.

I wish, i really wish that i had a teacher like John Keating!!


I watched this film the first time when I was 10 or something, but was falling in love with the film when I was 17. The same age of Knox Overstreet, Todd Anderson, and other guys in the movie.

"Dead Poets Society" talks about the lives of the students in the "Welton Academy", an elite prep-school preparing the students to ivy league school. These students were brought up in a strict and mainstream families.

All unexpectedly, the students are exposed to Mr. Keating, an English teacher whose will change their lives through "free-will" thinking.

One of the best film of all time!


First the flaws: 1) The Headmaster is too broad a character. When he mounts the podium at the beginning of the school year, the stern and set expression on his face sets him off as a hidebound traditionalist and curmudgeon. He is the obvious villain here. No free spirit - like Mr. Keating - will last long under him. 2) We viewers are not prepared for Neil's suicide. Through most of the movie he comes across as a well-adjusted seventeen year old. He gets along well with the other boys. He is a natural leader. His penchant for acting appears to stem from serendipity, young male exuberance, and fun. Despite his martinet of a father he does not lie in bed long hours brooding, nor does he ever come across as depressed or manic. So when his father threatens to withdraw him from Welton after his successful debut in a Midsummer Night's Dream, he might argue with his father or turn sullen, but it strains credulity that he would go to directly to suicide. Now the qualities: 3) The production values are excellent. The location is idyllic - New Castle, Delaware is as elegant in reality as it looks in the film. The cinematography is gorgeous, at times lyrical. And the period details are right - like the boys smoking whenever grownups are out of the room - without being forced. 4) I particularly appreciated the acting of Neil's father. He has probably grown up under humble circumstances, and through enormous self-discipline, long hours and weekends of hard work, and seizing the rare opportunities that have come his way, has achieved modest financial success and comfort. At least once he tells Neil how much he has sacrificed for Neil's education at Welton. Neil's a good kid; he's getting straight A's. Like so many fathers in real life this father can't understand his adolescent son. His threat to withdraw Neil from Welton and send him to military school is so extreme it borders on the implausible. I fault the script, not the acting.


Everyone should definitely watch this movie. It changed my life. It's a constant reminder to "make your life extraordinary," because often, we all get caught up in the daily routine of life and what "we're supposed to be doing" and we forget to live life to its fullest.

This movie will make your inner-child come out. I would especially recommend it if you are into romanticism and authors such as Thoreau. The poetry exposed in Dead Poets Society is some of the greatest in history, so if you're a literature geek, you should also watch this movie.

On a scale of 1 to 10, I give it a 20.


I am so much surprised when i see that this movie takes 7.7.It deserves much much over it.It is certainly in my top 10. Excellent characters, flawless scenario and a wonderful end. It is my first comment on this page and this movie is actually the reason why i am registered...You will for sure question your life after u watch it. This movie is not only to have a nice evening but also to question your life. The center of the movie is "Carpe diem" (sieze the life), which a few of us can achieve in these days. When i feel that my life is not going on as I wish, I am always re-watching this masterpiece. It always works on me. I suggest you, whatever your age is, to buy and watch this movie. You will not be regretful. Believe me. This movie is just PERFECT


I watched this for my English class and it portrayed some very interesting themes, still affecting todays world. The conformity, the outbreaks, the restrictions.... its all very real, and that's what I love about it! The only thing stopping me from giving it a full 10, was the fact that I didn't like the ending very much, even though the suicide was a shock, the whole thing about Mr Keating getting kicked out didn't entertain me at all. Another part of the movie I don't think is adequate is the scene in which Knox Overstreet is at the party with Chris. Although the part of him getting beaten up was funny,I don't think it was necessary to show him getting drunk.


As with many High School English classes, we had to watch this over the past few days. Unlike most "school" movies, however, I quite enjoyed it. Robin Williams was great as usual, a pleasant change from his typical over-the-top comedy roles. He is one of my favourite actors, as he can play so many types of roles so perfectly. The supporting cast was great as well, each having their own moments to shine. The film had a very good message, to always stand up for what you believe in, and to seize the day, Carpe Diem! Part of the ending bothered me, to avoid spoilers I wont go into why, though the final scene certainly made up for it. Overall, I was pretty surprised with this movie. Who knew they'd actually make us watch something good in school!

7/10