#dps analysis

It is Charlie and Cameron’s desire for validation, what to them is love, that separates them from the potential connections around them. They believe they cannot be vulnerable, and thus compensate for the deficit with humour or usefulness such as Charlie’s frequent jokes or Cameron’s tutoring. This can be seen most obviously in Cameron’s search for the validation of authority, which Charlie humorously refers to as “professional bootlicking.” He is an upstanding student who follows orders without question. For example, when the duty to deface a schoolbook, something symbolic of the administration’s sovereignty, is brought on by Keating he does so using a ruler, hesitantly removing the necessary pages cleanly. He does not want to disobey a teacher, yet finds himself conflicted when forced to question the ideals forced upon him. While his hope for love is shown in the hesitance towards Keating’s instruction, Charlie’s is shown through the dedication he takes on to impressing Keating. When Keating comes to reprimand him after the phone call from God scene, Charlie’s face falls and he mumbles, “I thought you’d like that…”

The quote illustrates his personal motivations for the action: validation. He not only wanted to impress his friends, but also the one adult he felt understood by because they did not praise a dysfunctional system. Charlie and Cameron are both ultimately punished socially or capitally for their respective search for approval. 

Another way Charlie and Cameron search for love is through their shared role as the protectors of the group. This can be seen early in the movie for Cameron in his various comments on the danger of starting the Dead Poets Society and for Charlie in his aggressive support of Neil’s acting career along with his choice to not reveal the other society members after being beaten by Nolan. This is further exemplified later when Cameron confesses to Nolan the secrets of the society, at which point the two become martyrs at each other's hands. Charlie’s words regarding Keating’s blame–”Mr. Keating? Responsible for Neil? Is that what they’re saying?” reflect his sceptical position towards their administration, with him seeing absurdity in the claim itself. Cameron’s claim contrasts this. Cameron’s, “You can’t save Keating, but you can save yourself,” comment is reflective of his attitude towards the system–he views it as inescapable but hopes he and that which he loves can survive within it. However, he makes this comment understanding that the other poets view Keating favourably, a willing “death” to protect his friends. Charlie commits to his own martyrdom when Cameron solidifies his position by stating “Let Keating fry!” Together, they make choices of sacrifice only spurred on by each other's opposing actions, and thus lose the privileges they already held by a thread.

Despite their similar motivations, Charlie and Cameron walk separate paths written by their relationship to authority. Charlie is repeatedly acknowledged within the movie to be from a wealthier background than the rest of the poets, and his privilege shines into his own actions. He views the system as foolish because he sees it from inside; the components of a controlling environment are surprisingly simple upon closer inspection, and he has never felt the devastating effects of falling from its favour. His distaste for  the administration is shown through various scenes, including his mockery of Nolan and attempt to dissuade Neil’s father after the play.

This is where Cameron varies from him; Charlie sees something to destroy, Cameron sees something which could destroy him. Cameron’s family background is not explicit, but he is implied as middle class. Thus, he relies on maintaining good standing within the system’s ideals to be presented with mercy. This reliance creates a clear power imbalance between him and the administration, leading him to be susceptible to coercion and grooming. Cameron is not aware of the choices he is not given. He supports the actions of the poets–Neil’s play, Knox’s date, but does not dream of escaping his hierarchical box. However, from the outside of the box, Charlie sees its absurdity and sees no option but to destroy it. Their actions are directly informed by their class-upbringing, and the advantages or disadvantages they’ve been granted. 

Charlie and Cameron’s parallels bring heightened depth to their characters and the overall narrative. Through their shared traits and actions, various intriguing topics such as the class divide and power imbalances are emphasized, adding layers to the story and beckoning new questions. They highlight the good and bad within each other which creates emotional depth and encourages an open perception of morality. Through the hatred, Charlie and Cameron’s characters are inseparable.

Even when they’re not all standing, Keating almost always puts himself on his students’ level, or even below them (we’ll get there)

If they’re on the same level (all sitting or all standing) then they’re seeing face to face, they’re equals. This is part of what was new about Keating’s teaching (since the boys are used to the rest of the teacher’s traditional, strict, and disconnected teaching), he treats them as equals.

It’s no surprise than the first scene with Keating and the boys outside of class is with all of them standing.

When Keating is there emotionally for Neil, they’re both sitting, so they’re both equals.

Height = power. The higher you are (standing) the more power you have. If they’re all standing/sitting then they’re equal (if they’re all sitting it doesn’t mean anything regarding power).

However, he isn’t always on their level. He is, after all, their teacher, and so he stands and teaches and they sit and listen. This is also a tiny proof of how he doesn’t actually abuse his power, unlike what mr Perry says.

But even when he is in a typical teacher position (standing in a room full of sitting people) he still deviates from this because he gets close to the students. He’s standing but he’s also in the middle of the class, between their tables, leaning towards them, not in the front.

There’s more height=power scenes in the movie. You’ll understand it better with examples.

Like Charlie getting up to actively challenge Nolan (and then lowering himself when he was getting punished)

And then Charlie sitting down when Keating (who is standing) goes to reprimand him (to act like a teacher, to teach him and scold him)

Or also Knox kissing Chris (who is laying down, with no power over Knox kissing her cause she’s asleep and unaware) in the party. During this moment, Chet is also sitting down, until he realizes what happens, and then gets up, punches Knox (Chet has the power), and continues standing while Knox is laying on the ground.

Or McAllister leading his students outside. It means he learnt from Keating, than Keating helped him aswell, and now he’s treating his students more equally too, and giving them more freedom and power.

Maybe the football scene where they lift Keating up, too. Not so sold on that one but maybe.

Or Charlie and Cameron. Cameron standing vs the immediate inversion than comes after Charlie punches him. Cameron falls momentarily, Charlie has the power. Then he recovers and gets up and starts talking to them about how “if you’re smart you’ll do exactly as I did and cooperate” and the thing is, he’s right. He’s standing, you know what that means? That he has influence, power. Perhaps some of them (certainly not Charlie, and maybe not Todd, but some of them) agree with him. After all, they can’t do anything else. Cameron had the power in his hands by confessing everything and the rest of them are helpless to do anything. Can they bring Neil back to life? Make Nolan forget what Cameron told him? Give Keating his job back? No, they’re helpless. That’s why they’re sitting at the start of the scene.

Of course, there’s also the standing on the desk scene. Keating stands first, and then they follow his example. He gives them a bit of power. While they’re standing, Keating is also standing, but below them.

I would also say standing=confidence (sometimes). With Todd, mostly.

Obviously not every single scene with a sitting/standing character symbolizes something, sometimes they’re just standing, but if I really try I can make it become something.

Like the fact than in this scene the only sitting characters are Cameron and (pre-confidence) Todd (a scene with Todd refusing to go the study group, most likely because of insecurity and anxiousness) (+ Cameron is very visible during this scene, even tho he has no reason to be, nor a reason to be seated in the first place. He was standing before, I checked, and only sat right before the camera panned to this scene).

Or Todd sitting down while writing (and then crumbling) Carpe Diem on a piece of paper, thinking he couldn’t possibly do it. Or Todd sitting when telling Neil he doesn’t wanna read at the meeting.

Or Todd sitting when he’s writing a poem before he made his Whitman poem with Keating (and got a bit more confident), and post-poem he’s standing up while writing another poem. (Also the lightning, pre-poem he’s wrapped by shadows, post-poem he’s under the light)

Or Todd sitting (initially) during the desk set scene, but then after Neil makes him feel better, makes him feel more confident (less insecure), he stands up. He has the power and throws the desk set.

Or Todd reading his poem in the deleted scene in the cave while standing, or Todd being forced to sign after Keating’s death while sitting, or even Todd being seated when the poets (who he just met) tell him there’s a study group, if he wants to go (he definitely didn’t go).

Or Todd sitting when telling Keating he didn’t write a poem (lies, he just doesn’t wanna read cause he’s insecure) but then standing to make up a poem (which makes him more confident).

Keating lowers himself, while Todd stands. Gives the “stage”, the power, to Todd for a few minutes.

This scene also has a lot of movement.

Starts with (pre-poem) Todd sitting, and Neil appears, super excited, and lowers himself to Todd’s level, they’re friends, they’re equals. Neil gets up and begins talking about the play and carpe diem, he’s standing, he’s confident, he’s deciding to do the play regardless of what his dad wants, he’s in power. Todd is still sitting, and he becomes the voice of reason, what if you father knows? Neil continues talking about how he won’t know while standing, but eventually his excitement wears away after remembering his father is in power, not him, and so he sits down.

Then the “no” scene, a sitting, unconfident, Todd and a standing Neil (who recovered from what happened before). The “I’m being chased by Walt Whitman” scene, they’re both standing.

Todd sits a lot. Like, a lot. He’s basically always sitting. Well, at first. Towards the end of the movie not as much.

Like in the final scene. Todd is sitting in class but then stands up on his desk. He’s confident, he has the power.

But, we can mainly see the standing/sitting dichotomy with Neil. God, Neil. So, so, so many scenes with Neil and standing vs sitting.

One of the first scenes with Neil and his dad and boy is it a ride.

Neil is “talking back” to his dad, that’s why he’s standing, because he has got a bit of power, he dares to argue and try to keep the school annual.

The poets are sitting, powerless to help or intervene, after all, it’s not their place. (Don’t ask why Todd is standing)

Mr Perry is standing, obviously, as he’s in charge. When they get outside, same thing. Neil continues “talking back”, trying to explain himself. He’s standing.

But then, in the deleted scene, he gets back inside after, and he sits. He accepted he has no power in front of the situation, he accepted he can’t do anything about it.

Another scene with Neil and his dad. Mr Perry is sitting before confronting Neil about the play (he was powerless regarding Neil joining the play, he didn’t know about it and Neil joined despite his opinion) and then getting up to tell him to quit the play (he’s getting his power back, forcing Neil to quit. However, Neil is still standing, he’s still going through with the play, he’s in control)

When he goes to talk with Keating (as I mentioned earlier) he’s sitting. One, because Keating and him are equals in that moment, and two, cause he feels powerless.

During the play the poets (+ Keating) are sitting down. They’re powerless to do anything but watch. Watch as Neil acts, watch as Neil’s dad takes him away.

Neil is standing. He’s in control, he’s doing this against his father. Mr Perry is standing. He still has power, and he’ll show Neil exactly how much power over him he actually has later.

(Also, Neil gets told to go see his father while he’s sitting)

After the play, Neil is forced into the car (powerless to leave), and he sits.

And

Does this ring a bell?

The discussion starts with Neil sitting down, his mother ALSO sitting down, and his dad standing. He has the power, he makes the decisions.

His mother is also completely in the middle of mr Perry and Neil, so she agrees with both sides (or can’t choose who to support)

Then Neil stands up, ready to protest. His mom stands up too, to tell him she they were worried about him, and, following the standing/sitting motif, probably to back him up, if he spoke.

But Neil decides against it. He’s convinced his father won’t listen, what’s the point? He loses his power. Gives it away. He sits back down.

His mother then gets near, and pulls herself to his level, lower, even. Ready to comfort him, but then stands up and leaves.

Neil’s death sequence is so interesting because there’s so much movement and yet it still manages to be slow and quiet.

Neil is standing (he has control over his life now, he can choose whether to end it or not).

Then, Neil is sitting down, in front of the gun (he’s not powerful, actually, he’s powerless in front of his father and the only thing left for him is the gun in front of him. Remember, Neil didn’t wanna die, he just wanted to be free. He has no other choice if he wants freedom, he’s actually powerless).

Then, his body is laying on the ground. No power left at all.

Regarding his father, he’s laying down, sleeping (powerless in front of Neil’s decision that he’s taking in that very moment, he can do nothing about Neil wanting and deciding to kill himself).

Then, he gets up, ready to get mad at him, but when he sees neil’s body and realizes, both neil’s mom and him sit on the ground, powerless to do anything about their son’s death, because there’s nothing to be done now.

Then, Todd

And of course, the most iconic scene in the movie.

They’re all standing, Keating included, but Keating is visibly lower than them. He has influence, but he doesn’t have power anymore (he got fired). The students, tho, they got power, they’re standing up. Also Nolan is visibly lower than them aswell, and very clearly powerless to make them get down. Does Nolan have power? Sure, he’s standing and he’s the principal, but he’s also lower than them, powerless under them.

Not every student is standing, only those Keating helped, only those Keating made more confident, only those Keating gave power to. The ones who Keating changed their perspective (standing up in a desk was to see things from a different perspective).