moviegeekjn's Open Salon Blog

Primary -- Landmark documentary (movie review)

Fri, 31 Aug 2012 14:08:47 -0400

Although it's now common to see TV journalists carrying hand held cameras to follow Presidential candidates along the campaign trail, it wasn't always that way. The nature of the technology has greatly shaped campaign itineraries and strategy over the years. Using television became essential for politicians in the fifties and sixties, but large, clunky cameras meant that candidates would structure their day so that they would sit in front of those cameras during prime time for scripted campaign messages.

In the 1950s filmmaker journalist Robert Drew developed an idea for a different type of documentary that strove for dramatic logic. Documentary films had been constructed with "word logic" like a college lecture that used images as illustrations. Drew wanted to film REAL life drama as it happened, so he gathered a corps of like-minded filmmakers to act as a team for a project. Drew developed a list of rules to follow:

No interviews
Never ask anyone to do anything
Never ask a subject to repeat a line
Never ask a subject to repeat an action
Remain unobtrusive

To make such a film successfully would require local control--that the same people who shot the film do the editing as well. Only they would have the proper context to select the appropriate footage. Drew had a dedicated group enlisted--many would go on to distinguish themselves with their own documentary films: Robert Leacock, Albert Maysles (Salesman), D. A. Pennebaker (Don't Look Back).

All that remained was selecting a suitable subject--anticipating an event that would lend itself to drama. Certain to follow an unpredictable path, but with luck could end up being a significant film. Drew more than lucked out when he decided to film the 1960 Democratic primary race in Wisconsin between John F. Kennedy and Hubert H. Humphrey. The resulting film, Primary, became a landmark film that continues to be studied in film courses and is widely revered universally by film buffs.

After obtaining permission from both senators, the project was on. It provides remarkably intimate portraits of the Wisconsin campaign. Never again could such a film be created since portable filmmaking equipment allowed Drew and his team to fade into the background to such a degree that the candidates proceeded naturally through their routines. Leacock even captures Humphrey asleep in the car en route to his next event.

What is so remarkable about Primary are the small unscripted moments captured throughout the film--the faces of the Wisconsin farmers who warm to Humphrey's charm during his speech, JFK's reactions to the numerous children and youth flocking to him en route, Jackie Kennedy's nervous hands and expressions (clear she is not enjoying the campaign), a professional photo shoot of Kennedy with the filmmakers recording the process.

Much of this is directly due to the fact that the candidates didn't really understand exactly what was going on. So groundbreaking was the process of the small mobile cameras in 1960 that neither candidate paid much attention to the filmmakers. They must have regarded them as rather odd people who had some kind of pet project along the lines of home movies. Of course, later John F. Kennedy saw the film after he had won the general election and was quite impressed; this would lead to Drew's next major documentary, Crisis: Behind a Presidential Decision.

Although The War Room comes close (probably because an eventual Clinton victory seemed remote at the onset), no documentary has since captured the inside views of a Presidential campaign so naturally. This could never happen again with a serious contender despite the greater numbers of mobile cameras. Candidates are so aware that everything they do can become breaking news on CNN that they carefully "edit" themselves and consciously strive for soundbites instead of just being themselves. That makes Primary even more significant--as a blueprint for pure and true documentary film and as a nostalgia piece for a far more innocent period in U.S. politics.

Crisis: Behind a Presidential Commitment (movie review)

Mon, 27 Aug 2012 13:08:00 -0400

Documentaries have gained favor in recent years, especially at the Sundance Film Festival. Part of this is due to digital technology since filmmakers can construct professional looking projects with far less equipment, making documentaries far easier to construct and finance.

Still many modern documentaries seem contrived, pointedly constructed to promote a certain point of view. The is especially prevalent in the U.S. where politics has become extremely polarized, and the current Presidential election year makes such projects even more common.

So, it was a real treat to seek refuge with a Netflix rental from yesteryear and view Crisis: Behind a Presidential Commitment from 1963. A Robert Drew project that covers the federally ordered integration of the University of Alabama, the intimacy achieved in this 53 minute film will never again take place. A significant portion of the film reveals deliberations within the Oval Office, and sparked controversy itself when the film was aired by ABC. Add to that the security scares of recent years, so it's jaw dropping to see the Oval Office footage that Drew was allowed to record.

Drew pioneered a style of documentary filmmaking that established clear standards--striving to record natural footage without interference or intervention by the filmmaker. Commonly called cinema verite, Drew favored the term "direct cinema." To create noteworthy stories, this requires the filmmaker to evaluate the landscape and choose topics that he thinks will be film worthy and then approach the film subjects and gain their trust, so that they will eventually forget about being filmmed and carry on with their lives naturally.

This requires time and filmming a great deal of footage that will never be used. It also requires establishing a trusting relationship with the subjects. Drew was only able to gain White House access because he had previously created a landmark documentary Primary that had recorded JFK's breakthrough in Wisconsin as he campaigned for the Presidency against favored Hubert Humphrey.

After Kennedy was elected, Drew communicated that he wanted to do a film about a Presidential crisis, and it was agreed that he could film candidly inside the White House as long as it was a national subject; an international crisis would not be a prudent choice. When George Wallace declared that he would block the schoolhouse door in defiance of a Federal mandate, Drew seized the moment and put his like-minded film associates into motion.

Four main crews shot footage: Inside the White House with JFK, following Robert F. Kennedy, following George C. Wallace, following the two African-American students. The Kennedys appear quite oblivious to the cameras in contrast with the initial footage of Wallace, who clearly plays to them in the beginning. After this introduction, Wallace had the filmmakers turn off their cameras and join him for breakfast. They must have communicated their filmmaking purpose sufficiently since the governor acts much more naturally after this.

Besides the incredible close-ups and intimacy achieved as the various entities plan their actions, Drew's savvy editing is clearly evident. Not only does the story unfold naturally with minimal narrative, the structure of the film frequently strikes home that these political figures are quite human. Drew demonstrates parallels between RFK and Wallace early in the film by showing their early morning family routine around the breakfast table. Later, he includes a humorous telephone exchange between a federal official and RFK as they plan their strategy to deal with Wallace's anticipated blocking maneuver--RFK's young daughter interrupts and all parties go with the flow.

Although Crisis is nearly 40 years old, it ranks among the most refreshing and creative documentaries on record. It's simply amazing that Drew and his associates were able to take their hand held cameras to follow RFK's footsteps right into the White House and blend into the woodwork of the Oval Office provide background information to history book information.

Marley (movie review)

Sun, 19 Aug 2012 14:08:15 -0400

I'm not sure exactly when I heard my first Bob Marley song, but it was in the 1970s before the Legend album was released. It struck me profoundly. An introduction to reggae--derived from ska, it was positive, uplifting music with an afterbeat--I happily acquired every Bob Marley album available. I recall being devastated when Marley died without warning--taken by cancer far too young at the age of 36.

He left behind a treasure trove of music, still played ubiquitously throughout Jamaica and obligatory cover material for all subsequent reggae players. But until this year, no definitive film about the legendary musician had been crafted. Snippets of interviews may be glimpsed on a few concert film releases, but Bob Marley remained a murky legend despite universal popularity.

It turns out that much of this was due to legal disputes among surviving family members and former band members who felt they had been taken advantage of. Fortunately for all of us, documentary filmmaker Kevin McDonald gained unprecedented access to craft THE definitive film about the reggae legend in Marley. Since Rita Marley and the family officially sanctioned the project, McDonald was free to explore and has crafted a fascinating study of the musician and of the entire reggae genre.

Largely following a chronological structure, the 2 hr. 24 minute film ploughs deeply into Bob Marley's life yet flows like a river rapids with a lively mix of archive footage, home videos, live interviews, and photo collages. Some of the interviews occur via fortunate accident when the filmmaker was visiting Marley's childhood home and other locales--his first school teacher and a former roommate, for instance. A real coup are extended interview clips from Bunny Wailer, dynamic spiritual leader of Marley legendary band who had departed the group due to personal differences with the lead singer.

The film demonstrates the power and influence of Marley's music and shows how Bob and his wife saw reggae as a Rasta mission that explains Bob's incredible energy despite physical hardships and Rita's forgiving attitude towards her husband's numerous "infidelities." But the greatest value is found in countless details of the most personal kind that reveal the most incredible portrait of a legendary artist that has been captured on film in recent years.

Marley works on so many levels that an ever growing audience should now discover the film on Blu-ray and DVD. You need not don a red, yellow, and green T-shirt to appreciate the film. Bob Marley fans and music lovers are natural audiences, but anyone interested in culture, religion, history, politics, or human interest stories can find much to love about this documentary. The footage does not lie; masses of people have been positively affected by Marley's music, and this is THE definitive film about its creater.

Favorite Movie Theater Memories

Mon, 23 Jul 2012 13:07:24 -0400

Responding to current events, IndieWire magazine posed the following query to a few movie critics:

The horrific events in Colorado have shaken and disturbed all of us. People are already asking whether we need to cancel screenings or ban midnight movies, so it feels like an appropriate time to pause and remember the good times we've had in movie theaters. So this week, I want to know: what is your favorite memory from a movie theater?

I've spent a great deal of time inside movie theaters, so have a range of positive memories--mostly depending on the quality of the movie. A couple come to mind have regional tie-ins--like the time I watched Gone with the Wind in Carrollton, Georgia's downtown theater (in the upper balcony that had once served as the African American section during Jim Crow years) or saw Mississippi Burning in Tuscaloosa, Alabama (of George Wallace fame).

There's also a lot of fun times during midnight screenings where audiences let loose and frequently dress up as favorite characters. The audience made episodes 1-3 of Star Wars tolerable (though I kept falling asleep during The Phantom Menace while hoping Jar Jar would be knocked off) and the strength of the initial Lord of the Rings film had me eagerly anticipating the next two episodes. And Rocky Horror is always a surreal trip--a great one to drag novices to!

I've also enjoyed a number of special screenings where either the director and/or actors have been in attendance. Darren Aronofsky and Marisa Tomei spoke after The Wrestler while Shia LaBeouf was on hand for Bobby. I was able to talk privately for a few minutes with Shia afterwards and found him to be really down to earth and serious about researching his role (this was before he signed on for summer blockbuster roles).

But I have to rank two experiences that will forever stand out--and both involve Charlton Heston.

The first was a total accident. I had just seen the turning of the Millineum at an all night rave party in LA, so I was seeking a movie to check out before my late afternoon flight back home. One of the arthouse theaters on Santa Monica Ave. was screening Shadow of the Vampire at 11 AM, so I was among the few waiting... when one of the ushers excited came in to tell some friends of his that Charlton Heston was standing in line for tickets. Just like a regular person!!!

I had to check this out! By the time I reached the lobby, Heston was standing in line for popcorn. His iconic profile intact, he now walked very slowly... hunched over... more like one of the apes than Taylor ... but this was definitely THE Charlton Heston that I had seen in so many legendary films.

I sat just two rows behind Heston, his wife, and daughter. He seemed to enjoy the film greatly, and roared with familiar laughter a few times--very much like the laugh he used in Planet of the Apes when one of his fellow astronauts plants a small American flag in the sand. I recall enjoying the movie as well but had to re-watch it on Netflix because most of what I remembered from the theatrical screening was all about Charlton Heston!

The other Heston film experience that forever will remain is one that was no surprise a couple years later. It was a special screening at the Los Angeles Art Museum for Ben Hur. It was here that I first suspected that the screen legend may be in the opening stages of dementia since his introductory remarks were halting and sounded very much like comments he had made on the special edition DVD of the film.

But all through the screening, and especially during that epic chariot race... I just kept pinching myself.. Here I am watching Ben Hur... and HE is in the same audience ... watching it with me...and seems equally mesmerized. Just can't top that one!

Father's Day 2012 -- the Quartz Path

Sun, 17 Jun 2012 15:06:46 -0400

Dad was a quartz man.

A chemist by profession, he applied scientific research methods to nearly every situation: find the facts, make comparisons, and evaluate the data before taking action.

Conservative by nature, he never wanted to spend more money than necessary. And Mom backed him up on this. She had no need for diamonds when quartz would do just fine. It sparkles and ranks second on the gemstone hardness scale.

We never splurged on school clothes. Never ate at "fancy" restaurants. Never took exotic vacations. A strict family budget was established. Credit cards weren't widespread in the 1950s, and Dad warned against their abuse when banks began promoting them in the 1960s. Deficit spending was foolish--something only non-disciplined idiots would do.

Mom used to call Dad "tight" and attribute his personal economics with his Scottish roots, but it was more a case of him setting priorities on family. He would frequently shock us "kids" with his generosity, so he wasn't inherently stingy with his money. Dad was devoted to his family and practical to the extreme.

Idealists follow their dreams ... seeking professions that match their passions. By nature that may require "sacrifices" in other facets of Life.

My Dad wasn't willing to sacrifice his family to pursue his primary academic passion--geology. Employment in that field would have required long stretches in the field, so he selected a secondary interest... and used his chemistry degree to work for Moorman Mfg. company as an animal nutritionist.

A quiet, "Gary Cooper" type man, Dad's love for science frequently exhibited itself--he'd give long winded descriptions of the stars, rocks, or minerals we asked about. Not a natural teacher, he never seemed to notice when our eyes were glazing over during his impromptu lectures... but we realized that he was a brilliant scientist and that he expected us to be smart too.

I recall his affinity to quartz. Especially when it came to geodes that could be found in our western Illinois area. They would appear like plain round rock orbs, but when busted open--the revealed quartz crystals would sparkle like the inside of the cave covered in stalactites and stalagmites.

Why am I thinking of quartz today? The obvious reason is that this marks Father's Day--the fourth one that I've spent without my dad being around in this world. And I have grown to associate quartz with my dad. The photo above marks the spot that I saw a pair of coyotes just a few weeks before my mom died. For more details I wrote of that in Nature's Messengers .

I recently was cleaning out my email box and ran across the last email my dad had sent to me around the time of my coyote pair sighting.

_{I was scheduled for Chemo today but blood test indicated it should be put off for at least a week. Platlets were low as well as the good white cells.
For the next 3 days I have to take a shot which is supposed to stimulate the production of these cells. They arranged for me to have them take blood at Wesley Willows for a $3.00 charge which I will have to pay. At the cost of gas and time for Sharon to take off that is acceptable. Lift chair is spoiling me. Mom sits will her legs elevated more so hers is having a positive result.
...}

The email was direct evidence that his health was deteriorating, but I didn't recognize it at the time. They had both seemed so positive and energetic when I had last seen them on Mother's Day.

Mom and Dad always found ways to communicate without verbal eloquence. They knew of my affinity with the Navajo people, so the coyote pair communicated the necessary message. But there was more to it, and I'm certain that Dad chose the specific path... one that matched his sensibilities and one that he realized would connect with me.

He read a lot, so I have little doubt that he was aware of the Navajo creation story describing a progression through four worlds--from the Black world to the Glittering world.

The western path that the coyotes selected lies among the richest quartz deposits within the park boundaries.