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The History Boys | |||
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SHADOWS ![]() | ||
R E V I E W B Y R I C H C L I N E |
dir Nicholas Hytner scr Alan Bennett with Samuel Barnett, Dominic Cooper, Jamie Parker, James Corden, Sacha Dhawan, Samuel Anderson, Russell Tovey, Andrew Knott, Richard Griffiths, Frances de la Tour, Stephen Campbell Moore, Clive Merrison release UK 13.Oct.06, US 24.Nov.06 06/UK Fox 1h52 ![]() Subjunctive thinking: Corden applies pressure ![]() ![]() ![]() ![]()
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![]() At a boys' school in 1983 Yorkshire, eight clever-but-crass students are on track to get into Oxford or Cambridge. Fiercely intelligent, hilariously funny and soulfully artistic, they have one term to prepare for the entrance exam. They enjoy lively banter with their general studies teacher (Griffiths) and their history instructor (de la Tour). And now they have a new tutor, the extremely young Oxford grad Irwin (Moore). But do they have what it takes to get into the country's top universities? The filmmakers and actors take their time outlining these characters, avoiding quick stereotyping. These are living, breathing young men, and as we get to know them, we engage with their individual journeys--and their corporate one. It's an especially strong ensemble; they interact like they've been in school together all their lives. And their teachers are like part of the family. We vividly see how they understand each other, teasing and taking advantage and pushing each other in various ways. Although each character has defining moments, some get a short shrift. Anderson has so little screen time that he barely registers, while most of the plotting goes to Barnett and Cooper, who deliver stirring performances. Griffiths is simply wonderful--funny, creepy, inspirational and a little bit sad. De la Tour has such sharp dialog that we're glued to her every word. And Merrison is full of hilarious bluster as the expectant headmaster. Bennett's script is masterfully engaging, packed with humour and intelligence that earns our attention and pays off with startling insight. The story's themes about historical truth and personal expectations are beautifully explored without sentimentality or simplification. And Hytner opens out the play cleverly--there's no staginess at all--using terrifically sunny cinematography and a snappy song score, and making the most of each setting. The final coda may feel a little out of place and unnecessary, but this is filmmaking that's both powerfully entertaining and deeply provocative.
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Lee Conway, Western Australia:
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© 2006 by Rich Cline, Shadows on the Wall
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