elton Academy’s track record as one of the best preparatory schools in the U.S. finds many of its graduates entering Ivy League colleges. The exclusive place will be the new residence for students Todd Anderson (Ethan Hawke) and Neil Perry (Robert Sean Leonard), who will be roommates, while the English department’s former instructor has retired, allowing for the esteemed teacher John Keating (Robin Williams) to take his place. “It’s every bit as tough as they say.”

Painfully shy Todd is a bit of an outsider, but Neil knows most of the regular gang, though his stern father (Kurtwood Smith) dictates his curriculum, preventing him from pursuing the activities he cares most deeply about (“He’s planning the rest of my life for me!”). This is not unusual for these attendees, however, as they come from a long lineage of lawyers and doctors that have high expectations for their children; failure is simply not acceptable. Along with classmates Charlie Dalton (Gale Hansen), Richard Cameron (Dylan Kussman), Steven Meeks (Allelon Ruggiero), Gerard Pitts (James Waterston), Knox Overstreet (Josh Charles), and others, Keating’s class promises to be the most formative and most unorthodox. Keating is a teacher who wishes to leave an impression far beyond mere rote implementation of studying and reading. “Make your lives extraordinary.”

“You will learn to think for yourselves again!” Williams gets to inject a couple of lines of his trademark over-the-top energy and celebrity impersonations, but for the most part, he’s wonderfully subdued, getting to spout line after line of strikingly poetic, existential, inspirational dialogue. Like “Good Will Hunting” after it, “Dead Poets Society” is a spectacular opportunity for the comedian to showcase his thespian chops, revealing an actor who is far better rounded and convincing beyond just a funnyman. The teenagers are appropriately cast as well, but this is clearly a vehicle for Williams to command.

Fiction though it may be, the premise is captivating; what student wouldn’t want a professor to go beyond tedious, drab bookwork to instill concepts of new perspectives, adventure, inquisitiveness, fervor, romance, nonconformity, rebellion, and fun? Keating’s class is alive like no other; traditions, routines, and approval sought by peers are all out the window in his larger-than-life world. Even the scenes in which Keating is absent demonstrate his influences; his motivations spill into all aspects of this coming-of-age tale. And with a young love story in the mix (concerning an out-of-league cheerleader), Keating’s focus on poetry becomes even more useful and relevant.

It’s a brilliant examination of leadership, insight, conviction, daring, the pursuit of passions, and crushing adolescent aimlessness and anxiety, while highlighting the power of friendships, loyalty, and role models. And it’s equal parts charming and hilarious (with alternating emotions sharply complemented by Maurice Jarre’s score), boasting several spectacularly moving moments. Though it’s marginally overlong, the script is absorbing; despite the little conflicts that arise to thwart the boys’ independence and creativity, these are characters that are continuously likable and genuine. Time spent with them is quite rewarding. Toward the end, as a darker revelation surfaces, revealed with rather exquisite editing, the impacts of familial pressures and societal acceptance become more profound; impressionable young minds are prominently and tragically shaped by the adults around them. Plus, the parting shots are unforgettable and absolutely winning.

– Mike Massie