1

Romanticism Versus Realism Within The Crisis of Sexuality In ‘Dead Poets Society’
An Analysis By Chloe Fooshee

INTRODUCTION

If the words ‘O Captain, My Captain’ mean anything to you, you’re either a fond fan of

Walt Whitman or you’ve seen the 1989 classic film Dead Poets Society. It is classified as a rather

inspiring film with the overarching message of ‘Carpe Diem.’ Yet as beloved as this film

remains, a controversial debate of the lore beneath the film's surface level remains aflame to this

day. This is in regards to the relationship between the two student protagonists, Neil and Todd.

Though this film focuses on healthy male friendships, (a subject fiction tends to ignore),

audiences couldn’t help but notice the intense bond these roommates share. And they weren’t

necessarily in the wrong. Throughout the movie exists implications that Neil and Todds

relationship runs much deeper than the typical friendship. Instead they stand as two leaning

androsexuals who must omit their feelings for eachother at the fault of societal and familial

standards of the time and the interpersonal struggle between dream and reality.

TODD ANDERSON

Though Ethan Hawke's character, Todd Anderson, can sometimes feel secondary in

comparison to Robert Sean Leonard’s, it is heavily recognized that Todd subsists as the only

dynamic character throughout the films entirety. This is because of the main identity crisis all the

boys struggle with but only he seems to overcome- romanticism versus realism. Passion versus
 2

rationalization. This is one of the many lessons that Mr. Keating leaves the class ingrained with.

One of the most prominent examples being Charlie’s ‘Phone Call with God’ scene, in which

Charlie disrupts what would typically be a disciplined meeting to pull an attempt at a witty

disruption. After which he expects Mr. Keating to celebrate this stunt but is surprised when he

rather lectures him. He then states “Sucking the marrow out of life doesn’t mean choking on the

bone. There is a time for daring and there is a time for caution.” This interaction summarizes a

dilemma that many of the students, including Todd, deeply struggle with: the crave of desire

versus the necessity of remaining rational and realistic. In regards to Todd Anderson, this is the

main conflict driving his character development. Ex. Todd putting effort into a poem but then

throwing it away before getting the chance to present it. He struggles deeply with achieving what

he wants. His insecurity is holding back his passion, which is vice versa Charlie’s problem under

the same topic.

Todd’s improvised poem forced upon by an exercise Mr. Keating, invokes a clearer and

more personal look into this dilemma. “Truth, like a blanket that always leaves your feet cold.”

This line specifically displays the blanket as a symbol for the plight, as “You push it, you stretch

it, it will never be enough”, you try and try but you will never feel balanced between dream

versus reality. In a response sent to Antiromantic.com, “The feet are symbolizing Todd’s

rationalism and the head represents his romanticism. As his rational side was the one that always

won out before that was the one most exposed to criticism, thus being cold.” (Realism and

Romanticism in Dead Poets Society). The entirety of this personal struggle connects to Todd’s

identity, sexuality and relationship to Neil. The poem's message can be utilized to convey the

struggle of someone who is trapped in the closet of awakened sexuality, wanting to cave into
 3

their desires but in doing so would then be exposed to the harsh realities of societal backlash. It

matches the situation a little too perfectly. Not to even mention the fact that the ‘madman’ in

Todds poem is Walt Whittman, who is a historically confirmed gay poet. As well as in the almost

inaudible bits of Todd’s original poem we hear from Neil after he takes it, he reads ‘Walt

Whittman chasing me’ which could properly identify as a metaphor for Todd's stress and anxiety

regarding his sexuality.

His interpersonal struggles with allowing himself romanticization in regards to his

sexuality becomes apparent in the beginning of the movie. Evident in a scene in which all the

boys are in the shared bathroom having just showered- they stand and converse comfortably in

their array of wet hair and towels, all in exception to Todd who sits fully clothed and lost in

thought (A very uncomfortable yet familiar experience to those who have felt insecure about

their identity and or sexuality). Following is a scene of him scribbling down the message ‘Carpe

Diem’ into a notebook and taking the idea into consideration before tearing it out and throwing it

into the trash. These two scenes back to back truly tie in together Todd's sexuality and his

struggle between romanticism and realism. As his desire to seize comfortability within his

identity is restrained by his insecurity and realistic values forced upon him.

NEIL PERRY

Todd’s counterpart Neil is very much the opposite of him- ambitious, adventurous and

typically outspoken. But that doesn’t mean he doesn’t struggle with the passion versus reality

dilemma himself. In fact many of the dialogues shared between the two can be considered this

problem but personified. Specifically the scene where Neil announces that he’s auditioning for
 4

the play, excitedly and passionately running around the room. “For the first time in my whole

life, I know what I want to do. For the first time, I’m gonna do it! Whether my father wants me

too or not. Carpe Diem!” He yells. Throughout this declaration though, Todd continues to

question Neil about the rationale of his actions- specifically what would his parents think. He

tries to convince him to ask for permission but this frustrates Neil, in which he states “Can I even

enjoy the idea for a little while?” truly displaying that Neil leans heavily toward the

romanticization side of the blanket rather than rationalization. But this passion dictates his

downfall as he is driven to suicide after his father forbids him from pursuing acting and

announces that he’ll be switching schools.

Neils sexuality is fairly final with the result of his suicide because as Adelynn Anderson

puts it in an article for Medium, “If this all was simply about acting, mightn’t it have ended

differently?” For if the goal intended for Neils character was to become an actor, the story

would’ve ended on a much lighter note. But instead his purpose is deeper as he struggles with

not only his passion for acting against his fathers wishes but also the repression of his sexuality

and identity from specifically a familial stance. This is subtly shown when his father announces

that he is being transferred to a military school, which would force him to ‘man up’ and instill

traits of masculinity. As Medium calls it “A quick fix for a son who is not fitting the strict gender

binaries of the late 1950’s.” This takes place after his father shows up to the play- working as

clear metaphors for his fathers disapproval of his identity and sexuality.

The selection of the Shakespeare classic, A Midsummer's Night's Dream, as the play Neil

partakes in was a very conscious decision. There were many other choices that would’ve been

more suitable if Neil was strictly heterosexual: Hamlet for example. Especially as the character
 5

he plays is Puck, an androgynous but feminine leaning fairy who is typically (but stereotypically

of course) portrayed to be gay. The choice of this character specifically, though can show Neil

identifying as a less masculine figure, ultimately comes down to the final monologue that Puck

makes. A Midsummers Nights Dream ends with Puck taking center stage, starting with an

apology and the statement that the play was a work of fiction. Neil reciting this monologue

becomes apparently significant as he stares directly at his father throughout.

Many assume that this is Neil saying the opposite of what he wants- that his dream of being an

actor is over. And the assumption that this scene is Neil surrendering to his father remains

analysis wise ‘correct’. But this is only looking into the meaning of the text itself- and ignoring

the device it exists as. This monologue acts as one of the earliest and classic examples of

breaking the fourth wall. In which a distinction between character and actor is created. Therefore

the connection Neil makes to the message isn’t as literal as what Shakespeare intended but as a

way to signal that he is done playing a character, specifically the character his father wants him

to be. In fact, the discussion of this ‘perfect son’ character is mentioned even before the play's

opening night. Scenes just prior, a conversation between Mr. Keating and Neil take place where

they discuss Neil’s situation. Keating points that he is ‘acting for his father too’. “You’re playing

the part of the dutiful son.” Therefore when Neil is staring directly into his fathers eyes and

reciting this specific monologue with such conviction, he is killing the person he pretends to be

for his fathers favor and rule, as Keating inspires him to do so. With this being the monologue of

choice for Neil to say, it is an act of rebellion to ensure his father knows the difference between

the expectations and his true identity.

 6

With all of this analysis within Neils passionate side and standing up for his identity-

where would this tie into sexuality? It can be arguable that his interpersonal struggles are all tied

into his love for acting- But again as mentioned, if Neil’s only identity is related to acting then

there’s a lacking space in reasoning for his suicide. Especially as it’s contextually confirmed that

there is more to Neils identity than just his passion for acting. After the play, during the heated

argument between him and his father, he yells “I’ve got to tell you what I feel.” Which he then

follows with silence and after his father interrogates if it’s related to this ‘acting business’, he

replies with a defeated “Nothing.” Proving that there is more than the surface level of what Mr.

Perry and the audience knows of- assumption being Neil’s sexuality for there is nothing more the

audience has to suspect about.

Within the torturingly drawn out scene of Neil’s suicide, he does something rather strange

but notable. As he stands in his room shirtless with his Puck crown of thorns (an excellent

religious allusion to Jesus Christ) he opens a window, even though it is shown to be snowing. As

strange and minimal as it is, it cannot be ignored as earlier, in the very first Dead Poets Society

meeting, Neil tells a story in which we hear a familiar term told throughout. ‘Madman.’ He tells

the story of an old woman who discovers a madman at her window. Now with the knowledge

from Todd’s connection to Whittman being the homosexual madman, it all ties to Neil opening

the window to let that madman in. And with this, he is in acceptance of his full self- allowing

even the previously repressed queerness in. This decision could also be traced to the romanticism

versus realism struggle. Neil stands shirtless in the cold, exposing his top half rather than his

bottom half- again the blanket that can’t cover both passion and ration. (And again feet
 7

representing logic and rationalization) Neil is surrendering himself to the fact that his passionate

side will always be the one that wins in the end.

As Todd is informed of Neil's death, he goes out in silence. All he can say is “It’s so

beautiful.” before throwing up in the snow. The snow and cold, a display of Neil, his passion and

Todd’s newfound ability of romanticization thanks to him.

THEIR RELATIONSHIP

Neil and Todd meet in September as they become roommates for the school year to come.

And their relationship seemed to be the closest, even compared to Neil and Charlie who had been

friends for many years prior. The two are constantly seen together and have plenty of moments

signifying how fond they are of each other. With Neil always going out of his way to include

Todd into the meetings and the two always supporting each other, even when Todd believes it

would be a bad idea. It’s difficult to believe that they truly only knew each other for three

months, as Neil’s death date is December 15- said so on Mr. Perry's calendar in his office. But if

the two only knew each other for three months how come after his death, Todd was purposefully

the last to be informed by their friends. As well as, why was Todd the most emotionally

distraught? Well if their close circle of friends knew Todd would be impacted the most, then it

must be well known amongst them that Todd and Neil’s relationship existed on another level

compared to the rest. Naturally, the idea of them being romantically involved would make the

most sense. Not exactly in an openly homosexual relationship, as proven they were both severely

repressed due to a number of factors, but naturally attracted to eachother in a romantic sense.
 8

CONCLUSION

The idea that Dead Poets Society could be considered a queer film is still a heavily

debated topic to this day. Though I could be overanalyzing a film about male friendship through

a homoerotic lense, the idea that this could be a movie with excellent LGBTQ+ representation is

an exciting viewpoint to have. In the end, this film stays true to the morals of balancing between

dream and reality, passion and rationalization, staying true to your identity, friendship, and

seizing the day.

Whether or not Neil and Todd harbor an attraction to each other is ultimately up to

viewers discretion and jurisdiction. But underlying the surface level is enough evidence to

support the stance that this movie is heavily queer coded. And to quote wise Mr. Keating, “I

stand upon my desk to remind myself that we must constantly look at things in a different way”
 9

WORKS CITED AND REFERENCES

Beginnings, Issue 1: et al. “In Defense of Dead Poets Society.” Bright Wall/Dark Room, 22 Sept.

2018, www.brightwalldarkroom.com/2016/04/04/in-defense-of-dead-poets-society/.

Anderson, Adelynn. “‘Chased by Walt Whitman’ Or, Why Did Neil Perry Kill Himself?”

Medium, Medium, 10 Aug. 2020,

medium.com/@ara529/chased-by-walt-whitman-or-why-did-neil-perry-kill-himself-9d4fdcdf2c4

9.

says, Jenna, et al. “Todd Anderson.” AntiRomantic.com, 23 Dec. 2009,

www.antiromantic.com/todd-anderson/.

Weir, Peter. Dead Poets Society. Buena Vista Pictures Distribution, 1989.

Muro, Alicia. “‘What Will Your Verse Be?": Identity and Masculinity in Dead Poets Society.”

https://youtu.be/aNVwLgKs3ZM