That wouldn't be a radio in your lap, would it Mr. Pitts?
No sir. Science experiment, radar.
Most scenes together: John Keating & Charlie (4), John Keating & Neil Perry (3), John Keating & Headmaster Dean Nolan (2)
That wouldn't be a radio in your lap, would it Mr. Pitts?
No sir. Science experiment, radar.
"Oh, to have life henceforth the poem of new joys."
Oh! Boo! Come on, Charlie, let it fill your soul!
I thought the purpose of education was to learn to think for yourself.
At these boys age? Not on your life!
Why do we need language?
To communicate...
Nooo! To woo women!
Come on, Meeks! Listen to the music.
"To dance, clap hands, exalt, shout, skip, roll on, float on."
Yes!
Language was developed for one endeavor, and that is… Mr. Anderson? Come on, are you a man or an amoeba? [pause] Mr. Perry?
To communicate.
No! To woo women!
Mr. Anderson, I see you sitting there in agony. Come on, Todd, step up. Let's put you out of your misery.
I, I didn't do it. I didn't write a poem.
Mr. Anderson thinks that everything inside of him is worthless and embarrassing. Isn't that right, Todd? Isn't that your worst fear? Well, I think you're wrong. I think you have something inside of you that is worth a great deal. [writes "I sound my barbaric yawp over the rooftops of the world." W. W. on the chalkboard] Uncle Walt again. Now, for those of you who don't know, a yawp is a loud cry or yell. Now, Todd, I would like you to give us a demonstration of a barbaric "yawp." Come on. You can't yawp sitting down. Let's go. Come on. Up. You gotta get in "yawping" stance.
A yawp?
No, not just a yawp. A barbaric yawp.
Come on, louder.
No, that's a mouse. Come on. Louder.
Yawp.
Oh, good God, boy. Yell like a man!
There it is. You see, you have a barbarian in you, after all. Now, you don't get away that easy. The picture of Uncle Walt up there. What does he remind you of? [Tod hesitates] Don't think. Answer. Go on.
A m-m-madman.
What kind of madman? [Tod hesitates again] Don't think about it. Just answer again.
A c-crazy madman.
No, you can do better than that. Free up your mind. Use your imagination. Say the first thing that pops into your head, even if it's only gibberish. Go on, go on.
Uh, uh, a sweaty-toothed madman.
Good God, boy, there's a poet in you, after all. There, close your eyes. Close your eyes. Close 'em. Now, describe what you see.
Uh, I-I close my eyes.
Yes?
Uh, and this image floats beside me.
A sweaty-toothed madman?
A sweaty-toothed madman with a stare that pounds my brain.
Oh, that's excellent. Now, give him action. Make him do something.
H-His hands reach out and choke me.
That's it. Wonderful. Wonderful.
And, and all the time he's mumbling.
What's he mumbling?
M-Mumbling, "Truth. Truth is like, like a blanket that always leaves your feet cold."
Y-Y-Y-You push it, stretch it, it'll never be enough. You kick at it, beat it, it'll never cover any of us. From the moment we enter crying to the moment we leave dying, it will just cover your face as you wail and cry and scream.
Seize the day. Gather ye rosebuds while ye may. Why does the writer use these lines?
Because he's in a hurry.
No, ding! Thank you for playing anyway. Because we are food for worms lads. Because, believe it or not, each and every one of us in this room is one day going to stop breathing, turn cold, and die.
Why do I stand up here? Anybody?
To feel taller.
No! Thank you for playing, Mr. Dalton. I stand upon my desk to remind yourself that we must constantly look at things in a different way.
You don't have to perform. Just make it for yourself. Mr. Dalton? Will you be joining us?
Exercising the right not to walk.
Thank you, Mr. Dalton. You just illustrated the point. Swim against the stream.
You take a big risk by encouraging them to be artists John. When they realize they're not Rembrandts, Shakespeares or Mozarts, they'll hate you for it.
We're not talking artists George, we're talking free thinkers.
Free thinkers at seventeen?
Funny, I never pegged you as a cynic.
Not a cynic, a realist. Show me the heart unfettered by foolish dreams, and I'll show you a happy man.
But only in their dreams can man be truly free. 'Twas always thus, and always thus will be.
Tennyson?
No, Keating.
I'll try anything once.
Yeah, except sex.
Gentlemen, turn to page 21 of the introduction. Mr. Cameron, read aloud the excellent essay by Dr. Pritchard on "Understanding Poetry."
That page has been ripped out, sir.
Well, borrow somebody else's book.
They're all ripped out, sir.
What do you mean, they're all ripped out?
I just talked to my father. He's making me quit the play at Henley Hall. Acting's everything to me. I- But he doesn't know! He- I can see his point; we're not a rich family, like Charlie's. We- But he's planning the rest of my life for me, and I- He's never asked me what I want!
Have you ever told your father what you just told me? About your passion for acting? You ever showed him that?
I can't.
Why not?
I can't talk to him this way.
Then you're acting for him, too. You're playing the part of the dutiful son. Now, I know this sounds impossible, but you have to talk to him. You have to show him who you are, what your heart is.
I know what he'll say. He'll tell me that acting's a whim and I should forget it. They're counting on me; he'll just tell me to put it out of my mind for my own good.
You are not an indentured servant. It's not a whim for you. You prove it to him by your conviction and your passion. You show that to him, and if he still doesn't believe you - well, by then, you'll be out of school and can do anything you want.
No. What about the play? The show's tomorrow night!
Then you have to talk to him before tomorrow night.
Isn't there an easier way?
No.
No you're not.
You kicked out?
No.
What happened?
I'm to apologize to the school, turn everyone in, and all will be forgiven.
What are you gunna do? ... Charlie?
DAMN IT NEIL... the name's Nuwanda...