Die History Boys - Fürs Leben lernen

"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.

no doubt - it is more stage than set. but this is one of virtues. because, in strange manner, it does it alive. the acting, the dialogues, the tension - including the sexual tension - the characters who propose models and attitudes , show vulnerabilities and defines the small details who makes in the profound sense teaching. a film who has all - humor and clever script, the best actors and science to use the stereotypes in seductive manner. because it is more a film about dreams and self definition, about courage to give and to inspire the right manner to assume the life. sure, Richard Griffiths is great . but it is not a surprise. the good point is the wise balance between themes and portraits and styles. and the optimistic message. maybe, a film about school. but , more important, a film about freedom making.

The History Boys is a very very challenging film for any audience. One of these reasons is that it is driven by extremely eloquent conversations between younger and elder intellectuals, each conversation delving aggressively deep into the corners of conventional logic and subtexts and fleshing them out in what different characters arguably believe are the most truthful ways. Many characters are quite confident and extremely extroverted and the ones who are not so confident are defensively so. Alan Bennett's remarkably clear analysis of the human condition is intimidating.

The other reason is because the story is one beyond social judgment. Perhaps this is purposeful because being written, produced, directed, and acted by English people, class-consciousness is surely existent among them. But that's what I love so much about this film. The audience, in order to understand and enjoy it, must release themselves from the scrutiny of general culture over many, mostly sexual, aspects of life. The film is not about homosexuality, but homosexual goings-on exist prevalently in the story. It's also treated very nonchalantly, and many straight boys are free of any personal sexual burdens that would inhibit them from partaking. The very talked-about homosexual element of the film exists as the most direct example and also the core of the basis of the story, which is the pressure of society's judgmental and devastatingly interfering nature with many things that, if one were truly understanding, would not judge or interfere with. This extends to greater and more complex idealism in the script, such as the philosophy and meaning of education, the satisfactory or unsatisfactory pursuit and outcome of success, the importance of art and poetry, and the point of studying history.

I believe that The History Boys is an extremely important movie, and the fact that it lasted for a single week at a small theater here in Cincinnati is despicable and glaringly, stupidly contradictory to its message.

It's a bit alienating and confusing at first, but "The History Boys" grows as the relationships between the film's characters do. The result is a rather different film about education and the search for success as well as identity.

About a group of young British Oxford and Cambridge hopefuls who are being trained by their teachers to achieve this goal, "History Boys" is a film portraying young people at school that is the farthest thing from American, and that's a good thing. No characters fall into obvious stereotypes and they are all highly intelligent, gifted individuals. The boys aren't being educated to be smart, they're being challenged in their thinking and subsequently being challenged as people.

The subplot and controversy of the film is an incident involving misconduct between a student and the boys' primary teacher, Hector, played by Richard Griffiths who is most famous for his role as Uncle Vernon in the Harry Potter series. Homosexuality or the questioning of sexuality and sexual drives and the desire to please others that one is fond of (in the broadest sense) is a major undertone and many times a player in the film's events. It's a bit confusing, but it adds something more material to a film that often times seems to be footage of well-read individuals discussing literature. Anyone who is turned off by scholarly behavior and thought could not possibly enjoy this film because they'd feel bored and alienated.

The actors, all men mostly, are superb in the film, but Frances De La Tour while a definite supporting character carries her own power on the screen. The acting and characters are really the most important element of this film. It takes not time to establish its characters and relationships-you have to see them develop and insinuate them based on character interactions throughout the film. Since the film is mostly talking, there is a lot of opportunity for that.

While the viewer does feel very much on the outside of the plot, the actors and characters do tend to keep the interest level up and the ending is very nice and effective. The result is something much more meaningful and not nearly as gimmicky as the title "The History Boys" suggests.

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.