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GAY PEOPLE'S CHRONICLE
January 12, 2007
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History Boys
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to deftly transfer a stage play to the screen. His previous masterpiece, The Madness of King George, proved that he was adept at historical films and The History Boys proves that he is a master at contemporary films as well. With Bennett, Hytner creates such well-developed characters that one cannot but help root for them, even in their darkest most vulnerable moments. Hytner and Bennett are not interested in judging their characters, and for American audiences, who like their morality neatly packaged with syrupy schmaltz and pithy retribution this film will offend and shock.
It is the cast, however, that is one of the best film ensembles of 2006.
Richard Griffiths as Hector is simply superb and, unlikely to get an Academy Award nomination, he deserves a lot more acclaim than he has received. He may be most known to American audiences from the Harry Potter films as Uncle Vernon. (In February he will appear as Dysart in the famous Equus on the London stage across from Daniel Radcliffe aka Harry Potter-as the sexually confused and dysfunctional boy. Hopefully the production will reach New York just like The History Boys did.)
As Hector, Griffiths creates a character so funny and so human that one loves him completely, just like his students, warts and all. Griffith's large build, lumbering gait and effete mannerisms create a man who is both pathetic and larger than life all at once. His is a masterwork of acting.
Stephen Campbell Moore as Irwin, the upstart teacher, gives equally complex a performance. Moore's Irwin hides his vulnerabilities behind a façade of bravado and intellectual gamesmanship. Yet, when his sexual insecurities and desperate loneliness despite his smarts and good looksexplode from within, we realize that Irwin is, in his utter humanity, no different than Hector. Moore is the only main cast member not from the stage play.
Frances de la Tour is inimitable and her lone feminine perspective in the play is refreshing and spot on. Playing Mrs. Lintott as a feminist who must seek to assert her voice in this cabal of men, Lintott's truth and humor are refreshing. Because writer Bennett understands outsiderness as a gay man, he has written Lintott's marginalized voice with astuteness and explosive power. Her take on history is brilliant as she reprimands the boys by informing them that
history has been one inexorable march of men's ineptitude.
Every single boy brings something fresh and truthful to the story. Together, their camaraderie and chemistry is stunning and the stage work seems to have done wonders for this. As the jock Rudge, honest and awkward, Russell Tovey shines. As the religiously conflicted, musically talented pianist Scripps, Jamie Parker's acting is easy to overlook. His mature good looks and his gentle humor add a lovely sense of balance to the extremes of his two friends Dakiny and Posner.
Dominic Cooper as the swarthy, polyamorous Dakin is simply superb. Cooper knows how to create a character with feral sexuality, street smarts and mountains of charm without ever coming across as obnoxious or unlikable. Dakin knows that men and women want him for his looks, his body and he knows how to use that power not only to benefit himself, but also to make the others' love seem not as unrequited. He knows that Posner is in love with him and he appreciates it. Knowing that he can't give Posner everything he wants, he gives him the respect of allowing himself to be loved and adored and admired by Posner without scorn or humiliation.
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Samuel Barnett's Posner-awakening into his sexuality, aware of his utter outsiderness, and too bright for his own good is one of the most subtly stunning performances of the year from any actor, especially one as young as him. Barnett's singing voice too is a thing of beauty. Barnett's angst-ridden, lovelorn performance is filled with such humanity that one wants to reach into the screen and assure him that as he grows older, life will work out.
The History Boys is particularly prescient for the state of America today, if only audiences would care to look and listen. Bennett's ideals that education has value far beyond its dollar amount would serve the U.S. educational establishment well as it tries to solve some of its woes. More importantly, Bennett has some powerful things to say about history and its nexus to who we are today. Truth does matter, no matter which way you slice it.
In the last six years as Blair and Bush have tried to write history-their own concocted fabrication of it-with such little regard for truth or the history that has come before, The History Boys reminds us that those who abuse history like some wanton, expendable harlot, are not only doomed to repeat it, but will also eventually be crushed by the weight of irrepressible truth.
The History Boys is simply as good as it gets.
Michael L. Malkin Co.
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