Set in the mid-80s at a state school in Yorkshire, England, “The History Boys” focuses on a group of seven boys who achieve success on their A-level exams and now have a genuine shot at application to Oxford and Cambridge. Their success comes from the inspiration of Hector (Richard Griffiths), whose free-spirited view of life, love, sex and sport has truly changed their lives forever. Although they certainly have the talent to get in, they lack the discipline of the “Oxbridge” trials. In comes Oxbridge graduate Irwin (Stephen Campbell Moore), whose sole job is to get these boys into college and earn the school star status in the process. The boys find it increasingly harder to choose between their desire to get in to Oxbridge and their passion to choose happiness over success, as Hector and Irwin come into conflict over the well-being of the boys.

The play, which the film is based on, won six Tony Awards, including Best Play, Best Director, Best Actor and Best Supporting Actress. The screenplay was adapted by the original playwright Alan Bennett, with the original cast from the Broadway hit reprising their roles – the transition from stage to film goes smoothly. It has all the sophistication of a stage script, and yet contains some wonderful movie montages and a constant underlining musical score that peaks at all the right moments. The only letdown is the very end, when it becomes abstract and characters begin talking to the viewer. This scene works on stage because the audience is right there – having characters talk seriously to the camera just fails somehow on film.

Much of the film’s credited success must go to the force of nature that is Richard Griffiths. As Hector, the overweight teacher, he breathes inspiration in every scene, giving his star students rides home on his motorcycle only to fondle their genitals at stop signs. Although this is child abuse, the boys see it almost as a rite of passage, accepting a “very sad old man’s” brief molestation, in exchange for his passion for poetry, theater, music and film.

Hector is never happy and he fears that the boys will do what is expected of them – going to Oxbridge – for all the wrong reasons, rather than choosing the path themselves.

It is a truly complex performance, driven by Griffiths’ powerhouse embrace of Hector’s darkest faults, while capitalizing on his infectious passion for life.

Unlike “Hannibal Rising,” which relied so heavily on the lead, this movie also has an impressive ensemble cast, which comfortably takes the reigns whenever Hector is absent. All the boys are gifted actors, believable in all their work, mannerisms and thoughts. I think all audience members will find at least one of them to relate to, to understand most and to find bliss in. Yet, the scene-stealing award must go to Francis de la Tour as Mrs. Lintott, the boys’ history teacher, who acts as the mediator between the warring Hector and Irwin. She loves the boys as her sons, and she discovers the balance of nature vs. nurture, which neither Hector nor Irwin ever truly find.

There are so many wonderful qualities to this film. After “Little Miss Sunshine” and “Children of Men,” this is the third best film I’ve seen since the summer. It crackles in all the right places, blending tragedy and comedy perfectly. The film speaks from the heart with simplistic honesty. It has few faults, since every aspect is driven by talent. Even the costumes are appropriate for each character, especially Hector’s short ties, which accent his weight. A Midwestern audience might not enjoy it as much.

To me it harks back to an innocence in England that now might be lost. I think that for some, the accents and specific references to school life in England might not be understood. But give it a shot – hopefully it will be ample reward by the end.

Overall: A wonderfully witty, emotionally charged script, with an impressive ensemble. Well-worth your time, but some may find the accents and jargon confusing.

Ellis Wells is a senior in performing arts from Portishead, England.