With 1987's "Good Morning, Vietnam," Robin Williams had effectively conquered the long-held belief by many critics that his stream-of-consciousness brand of comedy was ill-suited to movies. In doing so, he'd also proven that he was capable of contrasting his dizzying flights of improvisation with moments of genuine gravitas. The question now was could he pull off a major dramatic role that wasn't tailored specifically for him?
This challenge arrived in 1989 with Peter Weir's "Dead Poets Society." Tom Schulman's tale of John Keating, a private school English teacher who encourages his teenage pupils to engage in verse-fueled non-conformity left no room for Williams's hyper-referential talents. He couldn't suddenly dip into a Jack Nicholson impersonation or goof on Michael Jackson. Even if he stuck to references within the era as he did on "Good Morning, Vietnam," it'd still be jarring. He'd cease to be Keating. This turned out to be quite the challenge for Williams.
This challenge arrived in 1989 with Peter Weir's "Dead Poets Society." Tom Schulman's tale of John Keating, a private school English teacher who encourages his teenage pupils to engage in verse-fueled non-conformity left no room for Williams's hyper-referential talents. He couldn't suddenly dip into a Jack Nicholson impersonation or goof on Michael Jackson. Even if he stuck to references within the era as he did on "Good Morning, Vietnam," it'd still be jarring. He'd cease to be Keating. This turned out to be quite the challenge for Williams.
- 9/8/2022
- by Jeremy Smith
- Slash Film
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