The History Boys

I had the good fortune to see a preview of this film at Picturehouse Greenwich - the best cinema in London. I had seen the play in London so was expecting to be disappointed at seeing the film of the History Boys on the screen. However,I am pleased to report it is a fantastic film. Great characters, far too many good performances to pick any one person as best actor. The boys and staff of the school were fantastic and totally believable. Not quite how life was when I was at school, but I imagine many grammar schools in the 1980's were the same.

I laughed out loud and cried and left the cinema with a smile on my face.

A must see

The English duo of Nicholas Hytner and Alan Bennett last collaborated on 1994's Oscar and BAFTA winning THE MADNESS OF KING GEORGE. This 2006 collaboration abbreviates Bennett's own 2004 Royal National Theatre play into a fast- moving account of how a group of Yorkshire teenagers from a state school pass the now defunct Oxford/Cambridge entrance exam. This is England in 1983. It's the zenith of Thatcherism. It was also the year of the film EDUCATING RITA, in which a working class housewife betters herself through an Open University degree. Things have obviously changed in the country since the Victorian times of Thomas Hardy's JUDE THE OBSCURE, where university is not a thing for the working class.

But the social, political and cultural milieu of the era is kept in the background (it's much less evocative than THIS IS ENGLAND, made the same year and also set in 1983). This is as much a fantasy of education as DEAD POET'S SOCIETY. These are classes full of the expectational, bright and articulate. Bennett never really finds the authentic voice of the 18-year olds - they speak the words of older, wiser men. But the performances - Richard Griffiths, Stephen Campbell Moore and Frances De La Tour as the teachers tutoring them in various ways towards university and, amongst other a pre-stardom Domonic Cooper and James Corden as the students - are uniformly excellent. The dialogue is witty in its observations on the education system and the purpose of education. Bennett's own adaptation wisely drops the two flashes forward which opened the play's first and second acts (Campbell Moore's character as a TV historian in the present day).

So many moments in this film struck a chord with me. As a grammar school student applying for Oxbridge, I have to disagree with the previous reviewer. The worries and pressures, as well as the arrogance, humour (and sheer smart-aleckness) that surround the boys' dialogue perfectly capture the hilarity and torture of adolescence. The dialogue is a little stage-y, but that doesn't seriously tarnish its impact. I think this film expresses the uncertainty and risk involved in life in a way that is both poignant and witty; often both at the same time. Ideas about what education should really be could not be more beautifully expressed than in this picture of young boys with their whole lives stretched out in front of them, and old teachers still unsure of what it's all about. Subtle and brilliant.

Gays and straights should see "The History Boys" to learn about love and tolerance.

I saw "The History Boys" yesterday at The Fine Arts - Popular Center in San Juan, Puerto Rico. It is excellent. If you have a closed or narrow, rigid mind, don't go. In order not to be offended by the language, you need to be a Metro Man or a Metro Woman. It is downright blunt at times. The blunt language is not to be shocking or porno, but to be brutally honest and upfront about important perceptions concerning love and tolerance.

I had a little trouble getting into the movie in the very beginning scenes. Too much was going on all at once. However, as soon as it involved the teenage boys having a one-on-one "educational" discussion with the out-of-the-closet gay teacher, the movie grabbed me and kept me until the very end.

There is one powerful scene where the teacher discusses a poem with a gay student. This gay student is also Jewish but his gayness is what makes him different. There is an outstandingly handsome black student who is accepted in the school without conditions. A Moslem who is accepted as the black student is. A young, newly hired teacher is in the closet and does not know it. This new teacher can be completely honest with his teaching history but not with his own life. There are many very British types who are the complete opposite of American homophobes. There was no spiritually sick prejudice of diversity among these eight teenagers. They got along beautifully with each other. They had a wonderful respect for each person's uniqueness.

Gays and straights should see "The History Boys." It is not a gay movie per se. It is more a movie about being a loving and caring human being. It is about being true to one's self. I hope the day will come when more people in Puerto Rico and the states, especially the anti-gay bigots and religious zealots, will have the tolerant perceptions of these eight teenage boys in Yorkshire, England, in 1983.

"History is just one f-----g thing after another." Rudge in The History Boys

The above quote from the athletic, anti-intellectual Rudge in Alan Bennett's London and Broadway hit, The History Boys, is the antithesis of the high-minded quotes and philosophies spouted by teachers and aspiring "Oxbridge" scholars at a public grammar school in Yorkshire. Yet the quote epitomizes the sub-textual disdain for intellectual snobbery and solipsism that hangs about academic institutions anywhere, anytime.

History can be an accumulation of facts that have power in their reality ("This is Oxford and Cambridge. You don't just need to know it backwards. Facts. Facts. Facts."). Or it can be a set of insights into the human condition whose power derives from the understanding one extracts from them ("All knowledge is precious whether or not it serves the slightest human use."). This film reveals the tension between those poles of learning and the in-between state of wisdom.

It's 1983 in a boys' public grammar in Yorkshire as the gifted "history boys" prepare for their "Oxbridge" exams for entrance to Oxford or Cambridge. The months before the exams will put them in hyper drive as the results-oriented headmaster vies with the portly sensibility teacher, Hector, who believes more in the experience of education than the quantifiable outcomes. Memorized lines from Keats or learning French by acting out a scene in a brothel is his preferred mode.

The latent and sometimes overt homosexuality, not a stranger to boys' school, is handled as just another learning experience for boys and teachers, at least those couple of teachers such a Hector who are known to prefer boys. The sexual orientation is as much figurative for decisions that must be made and the experience that will bring understanding of life's unpredictability, not just historical facts. The acceptance and casualness of the issue stretches credulity, but not as metaphor.

The transition to film from stage is no always smooth: Some scenes are played directly into the camera; others are static, less fluid on screen than under the proscenium arch. But who cares with all that inspired dialogue? If you love to hear English as it was meant to be spoken, albeit highly stylized, and young people grappling with big ideas, see The History Boys.