The History Boys (2006) Reviews

• A triumphant reflection on the adolescent quest for truth and authenticity

  roland-1042006-12-25

  British playwright/screenwriter Alan Bennett, whose scintillating wit first surfaced in his contributions to the 1960 satiric stage revue, "Beyond the Fringe," wrote "The History Boys," a play set in the early 1980s about English secondary school students and their teachers, academic competition and the purpose of education, and the chaotic developments of adolescent sexuality and coming of age. Specifically, eight boys qualify for the Oxbridge entrance exams, an unprecedented number for this particular school. Proud of this but, more importantly, out to capitalize on the enhanced prospects for the school's future that could follow if all eight are accepted into Oxford or Cambridge, the Headmaster hires a special tutor to prepare the boys for the exams. It is in the midst of this cram course that the drama unfolds. Produced by Britain's National Theatre, and led by NT Director Nicholas Hytner, "History Boys" became a smash stage hit in London (in 2004) and New York (in 2006). In between the launching of these two productions, Hytner, with his theater cast intact and working from a screen adaptation by Bennett, directed this filmic version of the play. Most such segues from stage to screen don't work out well because of the vast differences between these two mediums in their requirements for effective dramatic expression. What may be spellbinding stagecraft can become deadly stasis in the movie house, to everyone's dismay. I'm absolutely delighted to report that the film, "History Boys," is a glorious exception to this general tendency. One major reason is the stupendous cast, led by Richard Griffiths as the porcine, motorcycle riding, gay English teacher, Hector. Other teachers are played quite brilliantly by Frances de la Tour (an acerbic history teacher, Mrs. Lintott, lone advocate for women's achievements in this testosterone tinged cloister), Clive Merrison (the cynical, dyspeptic Headmaster, a classic administrator, utterly out of his element among scholars), and Stephen Campbell Moore (Irwin, a hired gun brought in to coach the boys for the Oxbridge exams, whose appeal to them is not only to lie to get ahead, but, more positively, also to recognize one's uniqueness, one's special qualities, and play them up). Mr. Griffiths and Ms. De la Tour have reaped numerous theater awards for their roles. The student contingent is led by Dominic Cooper (Dakin, the pretty boy), Samuel Barnett (Posner, the fretful one) and Russell Tovey (Rudge, the jock). I think the film works primarily because of the snappy interactions and byplay among the ensemble of the eight students whose odyssey is the principal subject of the story. The boys are dissimilar types but all are energized as only high spirited adolescents can be. And it is this energy - the constant quipping, antics, and small dramas of daily life among them and in their encounters with their teachers – which so richly infuses the movie with the active pace and rhythms of movement that film demands. Bennett also helps the film's proceedings immensely by avoiding the drawn out speechifying that can succeed on stage but kill off a movie in nothing flat. His screenplay sparkles with laser-like little zingers. Examples. Dakin is described by a teacher as "cunt struck." Rudge, who appears more dull witted than is in fact the case, when pinned down to define history, gives the notorious reply that has been used in adverts for the productions: "History is just one f***ing thing after another." Or this one, uttered by a teacher during a class field trip to inspect the war memorial at Coventry: "While we may speak of 'Remembrance Day,' the real purpose of war memorials, like Coventry and the Cenotaph, is to aid forgetting (of the realities of war), not remembering." (I immediately thought of Maya Lin's Vietnam War Memorial on the D. C. Mall, which so presciently violates this formula.) There is also plenty of suspense here to keep film viewers attentive. Naturally there's the question of whether the boys will succeed on the exams, what the future holds for each. There's also philosophical tension, embodied in the clash of pedagogic values and motives between Hector (the quintessential scholar, the advocate of mastering knowledge for knowledge's sake) and Irwin (the pragmatic, win-at-any-cost, success coach, for whom victory most assuredly trumps truth seeking). And there is sexual tension aplenty among this group as well. Bennett deftly explores a variety of sexual expressions, primarily homophilic, among the teachers and students. There is Hector's frank attraction to the boys, never mind the presence on the scene of his "unexpected" wife. And Irwin's more latent homophilia, which is not the only important matter hiding in his personal closet. Among the students there is Posner's dawning, hesitant realization of his queer impulses, and Dakin's more confident and polymorphous sexual appetites. "History Boys" is a triumphant reflection on the adolescent quest for truth and authenticity, about the world and about oneself. My grades: 9/10 (A) (Seen on 12/22/06)

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• the best film i've seen on growing up

  lawrence_082006-10-15

  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.

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• Wonderful film

  kimab-12006-10-09

  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

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• Contrived Pap

  YohjiArmstrong2011-09-11

  Plot: A group of Yorkshire schoolboys in 1983 try to get into Oxbridge. Alan Bennett is a celebrated playwright who has written for the screen several times. However on previous occasions he was telling a story, whilst in this instance he is trying to preach. He wants to pass on his knowledge. To tell us of the value of education, of knowledge for the sake of knowledge, of constantly striving to extend one's appreciation and understanding of high culture. It doesn't work. Because Bennett started out as a working class Yorkshire lad this film is set in Yorkshire, in 1985, despite the complete absence of Yorkshire mannerisms, patterns of speech and period attitudes. Because Bennett went to Oxford University (which, like so many others, he has never gotten over) the characters all indulge in constant, faux-witty, intellectual wordplay rather than conversations. It is difficult to escape the belief that Bennett, rather than characterising them, instead uses them like puppets to show the audience how clever he is (every character, in effect, sounds like Alan Bennett). The result is deeply annoying. Furthermore because Bennett is gay the schoolboys are all deeply homophile and there is plenty of what can only be described as homosexual letching over young, fresh boys. One teacher, Richard Griffiths in full charm mode, is a serial groper of his pupils whilst another teacher, in a revolting scene, is propositioned, quite out of the blue and out of character, by one of his pupils. And as Bennett is both homosexual and an intellectual we get villains like the grasping headmaster obsessed only by league tables and the moronic PE teacher who is also an overbearing Christian (and therefore anti-homosexual). Both are, at best, shallow stereotypes. To win praise with the chattering classes there is a scene conducted entirely and pointlessly in French. Bennett, like an unruly child, seems determined to shout, "Look at me! Aren't I clever?" at the audience. There are other flaws. The cinematography is beyond dull, the pacing non-existent, many characters have strikingly little to do and for a film about the value of knowledge there is a surprisingly ignorant section on the First World War that happily repeats falsehoods that were disproved decades ago. The ending meanwhile is deeply unsatisfying. The serial groper dies, cue melodrama, whilst all the boys get into Oxford, cue collapse of what little drama remained. In conclusion: pretentious tosh for metropolitan boobies.

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• Beautifully created movie about growing up.

  PizzicatoFishCrouch2006-11-12

  It's Sheffield, early 1980s, and eight talented students have achieved top grades at A-level and have Oxbridge in their sights. The problem? "They're clever but they're crass." So along comes Stephen Campbell Moore, a radical History teacher to change their manners, style, and even teach them to change History... Sadly, the boys' new found adoration for History and the musings of Nietzsche mean that their interest in the lessons of homosexual teacher Hector (Richard Griffiths, excellent) is displaced, and this film, with its many themes lined up, examines the school, its students and learning History. The History Boys is a film I connect and love for many reasons. The performances are stellar, and Stephen Campbell Moore and Samuel Barnett are standouts in the film, for their portrayals of the creative, innovative teacher and the sweet, sensitive gay teenager respectively. Samuel Barnett especially; he basically owned this movie, and every scene that he was in, I adored. He gives his gawky character such a tenderness of spirit and kind soul that it's impossible not to love him. But every member of the cast is a treat to watch; Dominic Cooper embracing the lead with vivacity, charm, and that raffish charm of an 80s teenager. Richard Griffiths is also excellent, and lends some warmth to his potentially disturbing portrayal of a man with an unnatural penchant for groping his students in return for a student-led lesson such as "How to use the present subjunctive in a French brothel". The cast bind the wonderful Alan Bennett script together beautifully, and the chemistry and rapport between all the characters is unmatched, natural, and a total delight to watch. This by-the-book adaptation of Bennett's play doesn't add anything to the play, but that's simply a good thing, because the genius and vibrancy of the play is fabulous already. Though depicting a High school in the 80s, I could still connect with this movie with my 21st century ideals. The teacher/student frictions and development of their relationship and respect is well-drawn and intelligent. The wit in which the process of getting into Oxbridge is shown, is reflective of nowadays, and there are one-liners here that are bound to raise a smile ("History? It's just one effing thing after another, isn't it?). Lastly, a cool 80s soundtrack guides our protagonists through the story with ease and warmth. A fantastically enjoyable, uplifting experience, The History Boys can be enjoyed by everyone, from a Cambridge-educated boffin to someone who just wants a laugh. You'll end up being drawn in by each character, hoping for their successes, and being moved by the relationships depicted in the movie. The best film of the year so far; it even makes you remember the good things about History...

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