Five Fantastic Filmmaking Documentaries

Documentaries about film-making are one of my favorite kinds, and I have George Lucas to thank for that.  “Star Wars” was a seminal cinematic event from my childhood, and I was mesmerized when the first “making of” special that aired on television.  My passion for film documentaries was ignited and still burns to this day.  As the process of making films is often as epic as the films themselves, I anticipated each succeeding entry with just as much excitement.

The five films profiled below are all excellent, in-depth examinations of the travails of filmmaking.  It’s not an easy business, and anyone who’s ever picked up a Super 8 camera knows that you can never fully anticipate the amount of work involved until the final cut flickers across the screen.  The journey may begin simply, but finding the path to the end may cost more than money.  However, if the final result is a film like the ones examined below, is the price really too high?

Directors often have periods of suffering and doubt during the course of their careers.  Some endure psychological torture on the level of a Lovecraftian protagonist.  However, it’s rare for such experiences to be filmed, and even more unlikely for that material to eventually comprise a theatrical release of such power that the documentary rivals the original film in its cathartic intensity. I can think of no better cinematic example of art imitating life than “Hearts of Darkness.”

Francis Ford Coppola’s wife Eleanor shot a lot of home movies during the making of “Apocalypse Now.”  She also secretly recorded her husbands’ conversations with herself as well as his many arguments over the phone with nervous studio execs.  What emerged years later in the editing room is likely the greatest film about filmmaking.  “Hearts of Darkness” chronicles Coppola’s descent in the green hell of the Philippines, and the emotional and psychological torment of the struggle to complete “Apocalypse Now” suffuses every frame.

The combination of heat & humidity, cost overruns, script rewrites and borderline insane actors was dangerously volatile, and the production constantly teetered on the verge of collapse.  Only the sheer force of Coppola’s will kept things moving forward.  “Apocalypse Now” is a remarkable examination of the futility of war, and alongside “Hearts of Darkness” both films are testaments to the ability of the human spirit to survive in the midst of absolute chaos.

James Cameron’s passion for telling epic stories is rivaled only by his absolute commitment to making them as best he can.  Cameron’s vision for “The Abyss” was daunting to say the least, and his insistence on shooting as much of the film with real equipment, submersibles and sets resulted in one of the most famously arduous productions in Hollywood history.

The largest underwater set was actually constructed inside an unfinished nuclear reactor chamber, and it is no small irony that the long grueling hours everyone spent submerged created almost as dangerous a situation as a radioactive core on the brink of meltdown.  The emotional challenges were already enough to exhaust even the most seasoned professional.  Combine that with the physical drudgery of suiting up in real deep sea diving gear and going through descent and decompression on a daily basis and you’ve got a harrowing experience that few could face, much less see through to the end.

Cameron’s unswerving focus on finishing the film despite all the drastic setbacks is tremendously admirable, and it resulted in one of his best films (Director’s Cut only!).  As for the actors, you can hear the pride in their voices when they recount their stories.  All of them passed through a major crisis in their lives and emerged with a more profound sense of self.  They survived their descent into “The Abyss.”

Director Ridley Scott’s early film career contains many accomplishments, but “Blade Runner” is one of the most significant.  This movie is regarded by many as one of the greatest science fiction films of all time, and it certainly set a benchmark that has yet to be approached, much less surpassed.  Scott’s steely determination to realize this dark vision of a possible future was by turns a source of inspiration and exasperation for all involved.

“Dangerous Days” is one of the most thorough documentaries of its kind, and it’s blessed by having a wealth of archival material to use.  The documentary is a feast of behind the scenes photos and video footage of conceptual paintings, sketches, set construction and props created to realize the dystopian world of Los Angeles in 2019!  The cast and crew were subjected to many long night shoots, often under the icy spray of rain machines.  Sets were constantly being built, detailed and repaired, and there were repeated delays.

The anecdotes and stories from the director, actors, writers and prominent production designers contrast a warm, human center against the cold, amoral world of “Blade Runner.”  Though the theatrical feature is a decidedly bleak rumination on the value of human life, it is not without hope, and “Dangerous Days” further shows us that these somber stories are necessary, especially when they demonstrate that if we can work together through dark times that, brighter, less dangerous days will come.

The backstreets and alleys of Hollywood are littered with human failures, but Tinseltown is not the only city where would-be stars have fallen to Earth.  Every town in every state has an “I coulda been somebody” story, but it would be a rare thing for the teller of the tale to confess that it was their own hubris that brought them down.  Troy Duffy will never admit it, but that’s exactly what he did.

Boston native and bartender Troy Duffy had an extraordinary stroke of luck.  He wrote a script about two gun-slinging Irish brothers who take on the mob called “The Boondock Saints” and the Weinstein brothers of Miramax wanted a piece of the action.  What is more incredible is that the Weinsteins agreed to let Duffy direct the film and for his band of actual brothers to compose the soundtrack!  It was the most generous and exclusive deal ever offered to an unknown, and that’s when the swelling started.

Troy Duffy’s ego soon rivaled the Rock of Gibraltar in its mammoth size and absolute unwillingness to budge for anyone or anything.  Duffy’s delusions grew to such mythical proportions that he saw no harm in taking the entire monetary advance from the Weinsteins and blowing it all on a bender in Vegas!  Despite this, Duffy was able to finish the movie on a drastically reduced budget.  The film did not fare well in theaters, and Duffy became a pariah.  “Overnight” has two major lessons to impart: don’t let money and fame go to your head, and don’t forget who your friends are.

In case you were wondering, there was eventually a sequel!  “The Boondock Saints” developed a strong cult following on home video, and ten years later Duffy was approached to write and direct.  And the exact same scenario played out again.  He blew his entire advance and again had to finish the second on a much smaller budget.  After a decade to reflect on his wrongs, Duffy had learned nothing, and apparently, neither had the studios!  Once bitten, twice dumb?

I had not seen this famous film until very recently, and the experience was quite surprising.  It took Werner Herzog more than four years to make “Fitzcarraldo” because of logistical problems, major cast changes and unpredictable weather.  Shooting on location in the Peruvian jungle was threatened by an impending conflict with the neighboring nation of Ecuador.  “My Best Fiend” showed what a histrionic madman actor Klaus Kinski could be become.  With all this, I expected “Burden of Dreams” to be a maelstrom of frustration, rage and suffering.

Instead, this documentary reveals a serene atmosphere of stoicism much like its main character.  While there are heated discussions, setbacks and lots of starting over from scratch, Werner Herzog maintains a calm that would earn the admiration of Buddhist monks everywhere.  This is partly because Les Blank, who made the documentary, chose not to include certain fiery scenes.  Kinski’s explosive tirades against Herzog were so volcanic that the Peruvian natives approached Herzog and offered to kill Kinski for him!  Yet, none of this is in the film.

What emerges is a meditation on the value of patience and determination.  Narration provides some details of the onscreen action, but there also many shots of the river or the jungle and the creatures that live there which have little to do with the film production.  The visual parallels are delightful.  Like ants, the tiny humans scurry through the mud, relentless in their desire to get the ship over the mountain.  When the goal is finally achieved, it is not a monumental moment.  Rather the viewer comes to realize that the time and effort it took to reach the end of this long journey is the more valuable part.

"The Wire" series review

“The Wire” is the best urban crime drama ever made.  No other television series so completely encapsulates the disparity of human lives embroiled in the chaos of the inner city.  Though “The Wire” takes place in Baltimore, its story could be easily transposed to any city in the world and it would work just as well because authenticity rings true no matter where it peals.  All the characters are exceedingly well-developed, and whether they carry a gun for the law or for the street, the personalities are distinct, varied and compelling.

“The Wire” was the first show to give equal time to the lives of drug addicts and drug dealers.  While these characters are not always sympathetic, their motives become understandable as we are witness to their humanity.  Of equal emotional impact is the frightening expose of the bureaucracy that constantly hinders the men and women in blue from doing their jobs.  The police officers and detective squads spend almost as much time battling their stat-obsessed superiors as they do the criminals, hence the city government poses just as great a threat to Baltimore’s citizens as the addicts and dealers that haunt its corners.

Corruption is endemic on both sides, and real change is always stalled, leaving the cops and crooks forever stuck in a vicious cycle.  The names change, but the game goes on.  "The Wire" is eminently quotable as every scene is suffused with memorable dialogue, but one of the most prophetic exchanges of the entire series occurs in the very first episode.  Two detectives are discussing the failure of the war on drugs and one says:  “You can’t even call this a war!”  When his partner asks why, he responds:  “Wars end!”

Truer words.

The quality of the writing is outstanding and the actors inhabit their roles so completely that you can’t help falling in love with all of the characters, even the ones who are hapless fuck-ups.  For the cops, Jimmy McNulty is the clown prince.  When he’s working a case, McNulty is natural po-lice, but without a trail of clues to keep his demons at bay, Jimmy is a useless drunk.  His marriage is a shambles, and all McNulty’s detective skills do not avail him in understanding his ex-wife’s mistrust and resentment.

 

D’angelo Barksdale is nephew to the reigning gangster king of the projects.  He has more smarts than the average slinger, but D'angelo also has more heart, and so he rankles at the ruthless manner in which the game wastes so many young and occasionally innocent lives.  D'angelo's conscience clamors to be heard, but the corner ain’t no place for feelin’s.  However, when one of his own crew is callously clipped, D’angelo must choose to either stay in the game and remain silent, or to court certain death by speaking out.

Beyond the story and characters, the construction of the entire series is breathtaking.  Whether the issue is drug addiction, the collapse of once-thriving industrial centers, political corruption, the broken educational system or media skew, each season builds upon the previous one and expands the perspective on the myriad of problems that Baltimore faces.  As the view grows ever larger, the seemingly microscopic moves made by the humans trapped in this concrete cage seem trivial, yet there is still heroism to be found here.

Season 1 descends into Baltimore's public housing and details the futility of trying to curb the drug problem by busting only low-level dealers.  Police budget cuts won’t allow for the lengthy investigations necessary to successfully prosecute senior gangsters, and the drug crews will always be able to recruit more soldiers to replace those jailed or killed.  Most of the major series characters are introduced, and we follow their individual struggles to balance the requirements of their lives against the truth they see on the streets.

Season 2 switches locales to Baltimore’s dying sea ports and reveals how drugs and other contraband are able to enter the city so easily and in such massive quantities.  The stevedores union has been shrinking rapidly, and millions are needed to dredge the canal so that more ships can dock and create more jobs.  The union captain Frank Sobotka has made desperate choices to keep his men working, and in doing so Sobotka has cast himself adrift on amoral seas.  The lure of easy money was too seductive to resist at first, but a horrible human tragedy on his docks forces Sobotka to finally confront his culpability, though the cost may be fatal.

Season 3 examines how the high-level drug lords use their money to influence local politicians through campaign contributions.  These secret connections ensure that no police inquiries are allowed to follow the trail of dirty money back to anyone's mansion.  The narcissism and cold-blooded treachery of the street is mirrored in the boardroom as the local government officials scheme and backstab their way to another term and another payout.  Collateral career damage is mercilessly meted out, and the survivors allow no quarter and offer no apologies.  The game is the game.

Season 4 is pure heartbreak, as the overburdened and under-budgeted Baltimore school system struggles to offer inner city children a chance of escape through education.  However, the high school hallways echo jail corridors in their random explosions of violence.  There are too few teachers for too many kids with too many problems.  The students quickly learn that you’re better off packing a gun than a textbook, and the local gangs easily find freshman applicants who would rather risk their lives in the game than in the classroom.

The fifth and final season of "The Wire" is the closest to creator and writer David Simon’s heart, for it focuses on the newspaper industry and how print journalism is foundering in the wake of the internet and 24-hour news channels.  Simon was a police reporter for the Baltimore Sun who embedded with local police, so he saw which stories got printed and which ones got buried.  Political corruption has deep roots, even in the newsroom.  Aspiring local candidates are able to indulge in spin and censorship to preserve the façade of their campaign promises while the reporters and editors struggle with how much truth they can publish.

There are no resolutions.  No lessons learned.  “The Wire” goes dead without revealing any answers.  Instead, this superlative series etches into the stone of our psyche the most damning document of the evil that we do to each other.  One might think that such a chronicle would be a crushing downer, but I own the series, and upon every viewing the experience is exhilarating.  The veracity of "The Wire" and its unwavering power to confront us with the truth of human nature is an affirmation of our duality. 

We all have the capacity for generosity or atrocity, but it is our life experience and our choices that most influence the path we tread.  Yet sometimes doing what is right is not enough.  Even if the intentions are good, the outcome rarely results in any permanent respite from the grind of the game.  The struggles of a valiant few may be vain, but at least we can admire their efforts to make the world a little better, even though they will likely not share in the reward.

Six Superb "Human Interest" Documentaries

I love documentaries.  Even the most biased ones still have the ability to impart useful information if you can successfully sift through the rhetoric and prejudice.  While a truly impartial film is an impossibility, that is just as well since personal feelings and testimony are usually what makes documentaries so entertaining.  The six movies listed below are no exception, and all of them have a common theme: the human condition.  Whether the subject is what we think or feel or believe, each of these documentaries delves into a facet of human life that I find fascinating.

“A Certain Kind of Death”

Everyone has their own ideas about what happens when we die, but one thing is certain; whether it is a grand, public ceremony or a small, quiet service, all of us would like to be fondly remembered by our family and friends.  But what about the deceased that don’t have loved ones to attend to their last wishes?  What do you do with an unclaimed body?  “A Certain Kind of Death” examines the procedures that local government services provide for those who die and have no relatives to make arrangements.  This film's particular perspective is not readily apparent at first, but it creates a subtle and unique impact upon the viewer.

All of the people interviewed for “A Certain Kind of Death” offer no opinions or personal observations about their jobs.  All they do is describe their part in the process while we watch what happens to the bodies.  The absence of emotional testimony is very refreshing.  All documentaries suffer from bias, but “A Certain Kind of Death” does a superb job of making the viewer feel like they can decide for themselves whether what unfolds honors the unmourned or leaves something to be desired.  Squeamish folks are warned to have the remote ready as there are a few unpleasant scenes involving just discovered corpses.

“Who the #$&% is Jackson Pollock?”

Anyone remotely associated with the art world knows about Jackson Pollock, but how many career truck drivers are familiar with the man who broke new ground with his splatter paintings?  Teri Horton had no clue who the #$&% Jackson Pollock was, but after a fateful purchase at a five and dime store, this 73 year-old woman suddenly discovered that she may have bought one of Pollock’s lost works for the staggering sum of five dollars!!

The film follows Horton’s agonizing attempts to authenticate her purchase, and the culture clash that erupts between this blue collar worker and the blue-nosed art snobs is hilarious and very revealing.  Teri Horton never had a higher education, but her common sense and tenacity keep her going despite the sneering derision heaped upon her.  Though the film lacks a resounding conclusion, it is a fascinating portrait of two very disparate strata of society, brought contentiously together by a mutual need for validation.

“Dear Zachary”

Have you ever loved someone who wasn’t just “a little off” but actually insane?  Most of us are fortunate enough to find a life partner who is not a ticking time bomb of psychosis.  Andrew Bagby was not so lucky.  A sweet and soulful young man, Andrew was loved by all who knew him.  Then he met Shirley Jane Turner, and the slow, inexorable way in which his simple world collapsed into a mental nightmare is horrifying.

Andrew Bagby & Kurt Kuenne

“Dear Zachary” is impossible to summarize without revealing information of colossal spoiler value.  It is an utterly heartbreaking story, and the end is a shocking gut punch, especially when you realize who made this film.  Andrew Bagby’s lifelong friend, Kurt Kuenne was solely responsible for every aspect.  Despite the tragedy, this film deserves to be seen, as it is a poignant and affecting tribute to a dear friend.  A box of tissues is required.

“In the Realms of the Unreal”

Henry Darger was 81 years old when he died in Chicago in 1973, but no one could have suspected that this quiet little janitor would rock the art world with one of the greatest discoveries of the modern era.  Henry Darger had few friends and led a reclusive life, but after Darger's passing his landlord unearthed a historic treasure trove of writings and artworks in the deceased's apartment.  For decades Darger had labored over a 15,000 plus page novel and multiple massive painted canvasses, some as large as 12 feet across.  The sheer volume of written and visual work astounds the eye and overwhelms the mind with its epic scope.

“The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion” is a monumental work of fiction.  What is even more astonishing is that Henry Darger was self-taught.  He never graduated from any school nor took any formal training of any kind.  Yet Darger was able conjure an amazingly detailed story and compose colossal watercolor illustrations that comprise a fantastic story of grand mythical adventure.  Though his living years were spent in total obscurity, Henry Darger left behind an artistic legacy that is an enthralling testament to the power of imagination and creativity.

“Prodigal Sons”

Like many young married couples, Loren and Carol McKerrow greatly desired children.  Believing themselves incapable of having their own, Loren and Carol adopted a young boy and named him Marc.  However, on the day of Marc’s homecoming, Carol discovered that she was pregnant for the first time.  The new parents choose Paul as the name for their biological child, and another son, Todd, was born soon after.  What begins as a rose-colored story of a happy quintet morphs into a mesmerizing tale of identity crisis and transformation. The fact that this family remained together and supported one another through such extreme changes is a sterling example of what “family values” ought to mean.

Carol McKerrow, Marc McKerrow & Kimberly Reed

Paul realizes that she is transgender, and undergoes the difficult process of transitioning into being Kimberly Reed.  Todd struggles to come to terms with being homosexual, and their adopted brother Marc exhibits increasing mental problems and has to be committed.  A further bombshell occurs when it is discovered that Marc is related to one of Hollywood's most famous directors.  The amount of growth, acceptance and forgiveness that the McKerrow family experiences and embraces is harrowing and exhilarating.  Watching these brave souls trying to make sense of their place in the world is incredibly inspiring, and the film captures all of these moments with a tenderness that will have you weeping with joy at the inner beauty that shines forth.

“Cane Toads”

As all of the above documentaries are quite intense, I want to end with one that is funny and lighthearted.  “Cane Toads” is one of the best human interest documentaries I’ve ever seen.  The film begins with a jaw-dropping governmental goof: the introduction of the Cane Toad into Australia.  It was hoped that the Cane Toad would consume and thereby curb the cane beetle pest.  However, the two species never encounter each other in their natural habitats and the Cane Toads proceed to eat everything else.  RESEARCH, people!  Look into it!  The Cane Toads have no natural enemies in Australia, and so their population explodes.

While the facts of this biological blunder are fascinating, the rogues’ gallery of quirky locals and officials who are interviewed provide the true entertainment.  The variety of human responses to the Cane Toad invasion is enthralling, and the personalities and stories are by turns heartbreaking, hilarious and exceedingly irreverent.  While some have lost pets to the Cane Toads’ poison, others smoke it to get high!  Some run over every single toad on the road while others feed them from their back porch like pigeons.  The Cane Toad may be the subject of the film, but it is the humans who are the stars.

"How To Train Your Dragon 2" review

A superlative sequel in every way!

I regret missing the first “How To Train Your Dragon” film in theaters.  While watching the DVD was still an exhilarating experience, I knew that certain scenes would have had a much more memorable impact on the big screen.  The sweeping majesty of the flying sequences rocked me to the core, and the story and character development was equally excellent.  These elements combined to give the initial film a visual and emotional resonance that hit me right in the feels.

Sequels are a potential minefield.  How to balance audience expectations against moving the franchise forward in new directions?  Having a literary source is a big plus.  Having such talented artists and writers who are willing to take chances is also an advantage, for it is a rare skill to know when to execute the unexpected in a way that makes sense.  Finally, understanding the characters and how the story needs to evolve is necessary to achieve an ending that is resounding in its victory yet bittersweet because of the cost.  “How To Train Your Dragon 2” accomplishes all these things and more. 

 

The variety of landscapes and environments is a feast for the eyes, and the sumptuous visual design is jaw-dropping on the big screen.   The characters have grown from children into young adults.  Hiccup has become a steampunk inventor of Jedi-like talents, and his new contraptions are a delight to behold.  Astrid continues to be a leading lady of strength, skill and wit that makes the feminist in me pump my fist for girl power!  Hiccup’s relationship with his father faces a new test, and the outcome is yet another heartbreaking example of why this series continues to be so engrossing: risks.

As in the original film, there is a price to be paid for growth.  Hiccup survived his first battle, but lost a foot.  Like his dragon Toothless, Hiccup is now missing part of his original self.  Yet Hiccup is still expected to become chief of his village, and when the peaceful harmony of the dragon riders of Berk is threatened by a ghost from the past, Hiccup has to confront a much greater loss.  One story thread is snapped, and another returns to be rewoven.  I wept with joy and sorrow, and cannot wait for the next chapter in Hiccup’s journey towards adulthood!

"Cold in July" review

A slow burn Neo-noir, Texas-style!

When I saw “Drive” with Ryan Gosling, I was initially entranced by its mood, music and volcanic violence.  Soon afterward, questions began to burble up in my mind, and I realized that although I enjoyed the film, its flaws outweighed its cool factor.  “Cold in July” is similar in many ways:  it also has hastily sketched characters, a great soundtrack and gushing geysers of blood.  Thankfully, this film's brooding tone is lightened by a liberal layer of ham and wry.  "Cold in July" is a southern-fried popcorn flick, but consarn it, it’s a good ‘un!

Michael C. Hall plays Richard Dane, a frame shop owner who fatally shoots a burglar in his home to protect his wife and young son.  This incident lights a fuse leading to multiple boxes of shit, the only question being when each one will explode.  I admire Hall’s attempt shed his serpentine "Dexter" skin by choosing to play a much more wholesome and ethical character, but Hall's emotive range still feels very limited and the one-note performance threatened to flat-line my interest.

Then Sam Shepard appears, and things perk up immediately.  All Shepard needs to do is level his stare and I am petrified.  As ex-con Russell, Shepard is not a father figure to fuck with, especially when he has vengeance in mind.  The economy of Shepard’s acting is astonishing, and his presence casts an aura of inescapable doom.  Don Johnson round outs the roguish trio with puckish amiability as Jim Bob, the pig farmer and PI for hire.  In defiance of the advancing darkness, Jim Bob adds just the right dose of humor.  His quips are like sparks from a campfire, and the twinkle in Jim Bob's eye says; "Saddle up, hoss!  We’s a-gonna have us some fun!"

Richard Dane just wants to be left alone, but his earnest efforts to keep his family safe only arouse further assault by the rattlesnakes nest of criminal forces that Dane has unwittingly provoked.  However, Dane cannot ride this trail alone, and the local police merely make matters worse.  Therefore, Dane must ally himself with Russell and Jim Bob and together this unlikely posse sets out to expose corruption and execute justice.  Though the final act is awash in aortic explosions, the climax is an emotional killer because it confronts us with the most heartbreaking decision that any father could be compelled to make.