“Dead Poets Society”: Why Neil’s Father Stood "Before The Law"
Dead Poets Society brilliantly combines defeat and optimism, rejection and love, craziness and daring, fear and freedom.

There are always two stories in mountain climbing, the story of the mountain and the story of the people trying to climb it. We know the story of Everest well after the tragic news stories and the IMAX film about it. There may be more technically difficult mountains to climb, but none have the mystique of Everest. Above All Else is the story of Alan Hobson and Jamie Clarke's third and final attempt to scale the mountain. The two climbers, who had failed twice in 10 years to conquer Everest--once only 400 meters from the top--balance each other well; Clarke's surfer style is offset by Hobson's thoughtfulness.
Dead Poets Society brilliantly combines defeat and optimism, rejection and love, craziness and daring, fear and freedom.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
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