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Cercul poetilor disparuti | ![]() | ![]() | ![]() |
Critica de film |
Scris de Ninel Ganea |
Luni, 03 Februarie 2014 14:49 |
Intr-una din secventele cheie ale filmului, noncomformistul dascal John Keating, interpretat de Robin Williams, ii indeamna pe elevi sa rupa paginile de inceput ale manualului de poezie, pentru ca la final sa aflam ca foile au fost smulse doar pana la capitolul romantism. De acolo incepea viata. Restul era pur si simplu maculatura pentru cosul de gunoi. In mare, “Cercul poetilor disparuti” prezinta aventurile unui grup de elevi si transformarile lor, sub influenta unui profesor carismatic de literatura engleza. Acesta incearca sa rupa traditia conservatoare a colegiului, sa le transmita copiilor bucuria poeziei, entuziasmul descoperirii de sine si cultura criticii (mai putin a celei de sine), toate fapte relativ laudabile, dar pornite fara a tine seama de consecinte si cu origini intr-o filozofie indoielnica. Filmul este construit pe o antiteza tipic moderna (romantica) intre individul rebel si canoanele constrangatoare ale familiei, traditiei si scolii (de moda veche). Solutia oferita de profesorul Keating este afirmarea personalitatii proprii, chiar daca elevii sunt inca la stadiul de “primim marfa culturala” si indiferent daca au ceva de spus sau nu. “Boys, you must strive to find your own voice. Because the longer you wait to begin, the less likely you are to find it at all. Thoreau said, "Most men lead lives of quiet desperation." Don't be resigned to that. Break out!”. In locul lectiilor presupus seci, Keating le propune experiente transformatoare, ii scoate in lume, le stimuleaza nonconformismul, ii socheaza prin gesturi si atitudinii curioase (se suie pe masa, ii provoaca la fotbal, etc). Elevii rezoneaza la stilul sau, iar profesorul este convins ca va forma niste personalitati substantiale. La un moment dat chiar, John Keating isi exerseaza talentul de medium cultural, incercand sa scoata dintr-un elev timid fluxul constiintei creatoare, in fapt o colectie de cuvinte fara prea mare sens sau valoare literara, dar care smulge aplauzele clasei. Asta desi criteriul esential pentru certificarea valorii il constituie, in viziunea sa, inadecvarea la opinia majoritatii. “Now we all have a great need for acceptance, but you must trust that your beliefs are unique, your own, even though others may think them odd or unpopular, even though the herd may go”. Figura simbolica a filmului este bardul homosexual Walt Whitman (Rousseau-ul american), al carui portret domina clasa si din ale carui versuri primim cele mai multe referinte. Figura tragica este Neil Perry, un tanar cu idei romantice despre arta, sufocat de presiunea cazona a unui tata rigid si a carui moarte constituie o buna oportunitate pentru colegiu sa se debaraseze de profesorul Keating. Personajul negativ prin excelenta il reprezinta, insa, familia. Familia lui Neil Perry este responsabila de moartea acestuia, in special tatal, deoarece regizorul are grija sa ne sugereze opresiunea patriarhala, care se rasfrange inclusiv asupra mamei, iar parintii lui Todd Anderson il neglijeaza si uita ca i-au facut cadou, de ziua lui, acelasi lucru ca in urma cu un an. Practic, singurele familii pe care filmul ni le prezinta sunt niste caricaturi, cu o sensibilitate atrofiata fata de propriile odrasle. Prin comparatie, flamboaiantul profesor Keating straluceste prin grija, ascultarea si naturaletea cu care ii trateaza pe copii. Antiteza nu putea fi mai flagranta, iar adeziunea privitorului imberb nu poate merge decat intr-o singura directie. Scoala de moda noua, intruchipata de talentatul domn Keating, reprezinta viitorul, nu uscaciunea familiei sau a cursurilor clasice de latina. Totusi, oricine a aruncat un ochi pe istoria educatiei poate observa cum obiectivul principal al scolii publice l-a constituit distrugerea familiei, cu rezultate colaterale care se vad astazi in colapsul alfabetizarii, de pilda. Nu e de mirare ca un educator de succes, precum John Taylor Gatto, vede singura solutie de salvare in reintoarcerea la un model bazat pe familie. Insa filmul merge cu valul, iar valul inseamna ca orice reminiscente traditionale trebuie sa dispara. Anarhismul spiritual si existential propavaduit de film este concentrat in maxima “carpe diem” si este interesant faptul ca, odata ce elevii au fost incurajati sa reia cercul poetilor disparuti, hobby-urile culturale incep sa treaca in plan secund, iar tentatiile mai terestre (bautura, tigari, femei) se impun firesc. Eliberarea de ordinea naturala a traditiei, estetice in cazul de fata, duce mai devreme sau mai tarziu la vagabondajul simturilor. E greu de gasit vreun romantic cu o viata asezata… Insa problema principala este ca aceasta filozofie romantica pur si simplu nu tine. Ea nu poate forma creatori, individualitati si, mai ales, oameni decenti. Ruptura de trecut pune in fata elevului o singura alternativa: o multime de scriitori care, in pofida diversitatii de suprafata, impartasesc un sistem de valori identic, iar sistemul de valori ii spune ca singurele lucruri care conteaza sunt ego-ul, lumea efemera si inovatia radicala. Or, cautarea noutatii cu orice pret il va duce foarte rapid spre excentrism. T.S. Eliot, probabil cel mai inovator poet al secolului XX, recomanda exact experienta trecutului: “the poet must develop or procure the consciousness of the past and that he should continue to develop this consciousness throughout his career. What happens is a continual surrender of himself as he is at the moment to something which is more valuable. The progress of an artist is a continual self-sacrifice, a continual extinction of personality. “ |