“Paradise Lost 3: Purgatory” – Joe Berlinger and Bruce Sinofsky
“Pina” – Wim Wenders
“Undefeated” – Stephen Bannon
This years group of nominated documentaries seems to be and odd assortment. Hell and Back Again and If A Tree Falls feel like traditional documentaries that might get nominated.
Paradise Lost 3: Purgatory, the third in a series about three young men accused of murdering some young boys. The three documentaries trace the arrest, 18 year imprisonment, and eventual release, in the third film, of Damien Echols, Jason Baldwin and Jessie Misskelley; also known as the West Memphis Three. The documentaries played a role in generating publicity, awareness, and support for the innocence of the men. Paradise Lost 3: Purgatory aired on HBO on January 11, 2012. The documentary seems to rehash a lot of what was done in the previous two except for the release of the men.
TRAILER PARADISE LOST 3: PURGAORY
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PINA, Directed by Wim Wenders, is a 3D dance film made in Germany. The film features Pina Bausch, who died during the preproduction phase of the documentary. Wenders cancelled production but the other dancers of the Tanztheater Wuppertal persuaded him to continue. The other dancers are featured and reminisce about Pina.
TRAILER PINA
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Undefeated is a film about Sarah Palin that feels more like political propaganda than a documentary.
TRAILER UNDEFEATED
Two documentaries that were not nominated and perhaps should have been are:
If JERRY SEINFELD COMEDIANwas only about Jerry Seinfeld deciding to resurrect his career as a stand-up comedian, after ending his hit TV show, it would be a rather narrowly focused and possibly short story. But the documentary goes beyond this premise and explores a number of other issues and ideas about comedy, performing, career choices and just what it takes to be a comedian. Anyone considering this type of career should see this documentary.
Before his television show Jerry Seinfeld did stand-up comedy. He was on the road most months of the year performing around the country. For twenty years he built up his routine, his jokes, timing and rapport with audiences. Seinfeld wanted to go back in 2002 with new material, new jokes that needed to be tested. This meant spending nights at comedy clubs like the Gotham Comedy Club in New York City.
In the film new comics like Orny Adams live a very insecure life as they try to get notoriety and maybe a spot on David Letterman or Jay Leno to get some national coverage. The documentary spends some time contrasting Orny Adams and his struggles for recognition with Jerry who while well known is also struggling to get his act together. They end up with the same agent, George Shapiro who has worked with Jerry Seinfeld previously.
In addition to being a must see documentary for anyone thinking about becoming a comedian, JERRY SEINFELD COMEDIAN is an entertaining, well paced documentary that goes behind the scenes including conversations Jerry has with other comedians including Greg Geraldo, Sherrod Small, Jim Norton, Robert Kline, Jay Leno, Gary Shandling, Bill Cosby and at least dozen others. There are no lower third graphics to identify everyone so it is difficult to be sure who is who unless you have seen them perform.
While it’s not difficult to identify with Jerry and his struggles to get back out there with new material, stage presence and good connection to audiences; his life style in between is more poor little rich boy as he commutes between gigs in his corporate jet. This is not the life of a typical standup comedian working and getting an act together. But Jerry’s success previously does present obstacles for him because audiences expect him to be as funny as he was before as a comedian and on television. Not every joke works first time out so it takes time to refine material. Like most comedians Jerry is extremely sensitive about audience reactions and if his material is working.
One of the interesting things about this documentary is the that it gives you a glimpse into the personality of the clown, the person who makes jokes on stage but has real human needs off stage. Jerry Seinfeld and maybe a couple dozen comics at any given time live a comfortable, successful life. There are scores of others living hand-to-mouth, trying to be funny.
JERRY SEINFELD COMEDIAN is and excellent documentary, well edited with a fine musical score, entertaining and informative. It is shot in an intimate fashion often in low light situations in clubs and other venue still keeping the lighting feeling natural. There are some good jokes and funny scenes too, which a documentary about a comedian must include by default.
BEING ELMO A PUPPETEER’S JOURNEY begins with a nine-year-old boy becoming fascinated with puppetry. The boy is Kevin Clash and his love affair ultimately becomes his career. BEING ELMO is an inspirational documentary story that explores “the soul of puppeteers” and what goes into bringing the puppets to life. The film tells the tale by focusing on Kevin Clash, a puppeteer whose characters have included Elmo, Hoots the Owl and Baby Natasha. He also is currently Sesame Street’s Senior Puppet Coordinator, Muppet Captain and Senior Creative Consultant. This is a documentary that in the end is about doing and focusing on your passion despite what anyone else may think or say.
In addition to being a “A PUPPETEER’S JOURNEY” this documentary takes you behind the scenes with a short history of Sesame Street and the creation of puppet characters for the TV program, Muppet movies and other older television shows that featured puppets. Kevin makes his way from a local show in Baltimore to other shows and ultimately New York where he meets Jim Henson and other puppeteer/designers like Kermit Love who appear to mentor Kevin in his early years. Archival footage is incorporated into the film bringing uniquely candid views behind the scenes at Sesame Street and the Jim Henson Workshop. BEING ELMO A PUPPETEER’S JOURNEY also includes interviews with Frank Oz, Rosie O’Donnell, Cheryl Henson, Joan Ganz Cooney and others involved in the world of puppetry. The documentary is narrated by Whoopi Goldberg, who also appears in the film.
“Clash’s first television work was for the CBS affiliate in Baltimore. He came to Sesame Street after attracting the attention of Muppet™ designer Kermit Love. Clash’s film credits include Jim Henson’s 1986 fantasy film Labyrinth, Teenage Mutant Ninja Turtles I and II, Muppet Treasure Island, Muppets from Space and Elmo in Grouchland. His television work includes The Great Space Coaster, Captain Kangaroo, Dinosaurs and Muppets Tonight.” – BEING ELMO A PUPPETEER’S JOURNEY
BEING ELMO A PUPPETEER’S JOURNEY offers a rare look at how the puppets are made and how they are operated when Kevin is seen training French puppeteers for the French version of Sesame Street. It is amazing to see the small things that make the puppets appear human like. The documentary is a must for anyone interested in puppeteering or who has ever wondered what makes them go. This leads to how Kevin brought Elmo’s character into being and how he found a “hook” for the character of Elmo.
BEING ELMO A PUPPETEER’S JOURNEY is a well paced documentary that both entertains and informs giving you insight into the people who create the puppets that they then bring to life. There does seem to be some gaps in the story as the film moves from Baltimore to New York and other places. It would have also been interesting to see a bit more of Kevin and others at work or performing. To the extent that the documentary is about Kevin’s journey there seems to be some blank spots in showing his life and career. However, there is enough there to tell the story and at one point his relationship with his daughter is highlighted.
There is a special moment at the end of the documentary when Kevin meets a young boy starting out, as he once did. This seems to tie together the soul of Elmo, created and brought to life by Kevin Clash, Elmo the teacher and the love of learning.
DIRECTED BY CONSTANCE MARKS an award-winning independent documentary filmmaker and writer director Phillip Shane. BEING ELMO A PUPPETEER’S JOURNEY 2011 – 80 Minutes
BEING ELMO A PUPPETEER’S JOURNEY is playing in theaters as of December 2011. It is well worth taking the time to see on the big screen.
If you don’t know much about Bob Dylan or his music this documentary will inform and inspire you; especially today, when a voice like Dylan’s is badly needed in the current climate of oppression and apathy to that oppression. NO DIRECTION HOME – BOB DYLAN takes those who were there in the 60′s back to the time when they bought every album released by Dylan and knew the words to his songs. The documentary covers Dylan’s life and events up to 1966. Bob Dylan did not want to be part of any movement or political group. He said his writing was not topical, but he gave voice in his songs to the most pressing issues of the day.
What emerges from NO DIRECTION HOME – BOB DYLAN is that Bob Dylan’s work reflects back the time period when it was written. Dylan at times claimed he was not a protest singer and at other times that all his songs were protest songs. Both things are true. Dylan was active in the Civil Rights movement, but also claimed he was not political. He wrote and sung, “The times they are a-changing” metaphorically in all his work. In many respects he was a minstrel. His writing did not just apply to civil rights; it applied to life styles and relationships, being American, and the culture in general. Dylan is as much a poet and writer as he is a singer and musician. He found his voice after being exposed to the poets and coffee houses in Greenwich Village, NYC and went on from there. In many respects Bob Dylan chronicled or documented injustice and other issues broadcasting them to the public much like a journalist or advocacy documentary filmmaker.
Scorsese skillfully weaves a number of parallel themes including a 2005 interview with Bob Dylan, a large amount of archival material, performances and additional interviews with people who knew Dylan. The film begins with Dylan growing up in Hibbing, Minnesota. Film footage and audio of artists from Hank Williams, Johnny Cash, Muddy Waters, to Johnny Ray and others who Dylan was exposed to in those early days are used to establish the world in which Dylan lived. It’s a fascinating journey from Hibbing through time and places like Greenwich Village in the sixties where Dylan matured as a artist. Everyone is there including Allen Ginsberg, Dave Van Ronk, Liam Clancy, Maria Maudaul and countless others.
There are several parallel themes running in NO DIRECTION HOME – BOB DYLAN. The documentary is not entirely edited in a chronological format. There is a non-linear approach to time. The film moves more by ideas than time. All themes are skillfully edited in an ongoing montage that moves between the past and present. One theme that appears early in the film is the ongoing angst, seen in performance scenes between Dylan and his followers. Footage from Dylan’s tours of England typify this as some fans react negatively to his evolution from folk music and acoustic guitar to electric with a backup band. One tour was originally documented in a direct cinema style documentary titled “Don’t Look Back” by D.A. Pennebakerin 1965. As NO DIRECTION HOME continues Dylan is seen dealing with the fan reaction in different ways, from what may be feigned indifference to an angry performance?
NO DIRECTION HOME – BOB DYLAN – 2005 – 207 MIN. Apple presents A MARTIN SCORSESE Picture – Directed by Martin Scorsese – A Production of SPITFIRE PICTURES
Another theme is Dylan and Joan Baez who for a time performed together and were friends. In an interview for the documentary Joan narrates meeting Dylan and talks about their relationship. Scorsese comes back to her a number of times throughout the film. In addition to Joan Baez there are many other interviews with people who knew Dylan in various ways. Parts of these interviews are also used throughout the film. These interviews are broken up and used through out the film as time passes. What emerges is not only insight into Bob Dylan’s career but also a history of one aspect of the music industry over the years. NO DIRECTION HOME includes a string of performances by Bob Dylan and other artists using archival footage that includes Woodie Guthrie, Pete Seger, Joan Baez, Johnny Cash, The Clancy Brothers and many others.
NO DIRECTION HOME – BOB DYLAN ends around 1966 after Dylan recovers from a motorcycle accident. He doesn’t do another tour for eight years. The documentary never lags. It would have been great to look at Bob Dylan’s career since 1966, he is alive has a career and is still recording music. Maybe Martin Scorsese will do a sequel. NO DIRECTION HOME – BOB DYLAN is a well-made, entertaining and insightful documentary film. It explores issues and events that shaped a man’s life and how he helped in many ways to shape a country’s awareness.
ZEITGEIST is a film that has a definite point-of-view which is presented in a sort of on going rant against an alleged world establishment. It is basically divided in to three acts that lead to some interesting conclusions in the final act. The first part examines the similarity of Christianity to many other earlier religions. Jesus is compared to the Egyptian God Horas, who the film claims has an identical birth story; Horas and Jesus both were conceived by a woman without a man. In the case of Horas, his mother, the Goddess Isis, magically conceived him. The entire notion of Christianity is tied into the astrological Zodiac and the 12 signs in the documentary. Horas and Jesus, the film shows, were both Sun Gods (Horas son of a God – Jesus a Demigod) which puts them in line with many other religions and myths. In some instances the information, presented as hard facts, makes a convincing argument. Christian scholars might argue that the mythical elements were applied after the fact to make Christianity more palatable to pagans. However, the film goes back to prehistory to establish its premise.
The second part ofZEITGEISTexplores what can only be called a conspiracy theory regarding how the destruction of the World Trade Center Towers was accomplished beyond being hit by two large jets carrying a full load of aircraft fuel. The premise is that the aircraft striking the towers and exploding were not enough to cause the buildings implode in the fashion they did. The film claims that there must have been explosives planted within the building to cause the buildings to collapse the way they did. No evidence to support this theory is presented except for a couple accounts of individuals hearing secondary explosions. The film also disputes the number of hijackers involved. It claims that there is no evidence of a plane hitting the Pentagon on the same day. It also disputes facts about the crash in Shanksville, Pennsylvania. The reason for all this according to the film was to start wars in the Middle East among other things.
The final scene, or part three, of ZEITGEISTattack the institution of the Federal Reserve Bank which the film relates to other world banks and the idea of a group of individuals who through wealth and power have controlled the world since Christianity became a world religion. The World Wars, Viet Nam and the current crop of wars were all arranged to the benefit of the Military Industrial Complex of various corporations and countries.
ZEITGEISTpresents a great deal of information that is often based on speculation rather than hard facts. It does bring to light a striking number of facts and ideas that tie the dogma and history of Jesus Christ and Christianity to obvious similarities with earlier religions and creation stories. The film makes the case that Judaic/Christian bibles do include stories that appear to be plagiarized from Egyptian and other religions. The 911 section is difficult to accept without more concrete facts and evidence. The conclusion segment does make a strong case regarding the manipulation of world events for profit.
ZEITGEIST – 2007 – 118 MIN. WRITTEN AND DIRECTED BY PETER JOSEPH
ZEITGEIST uses graphics, stock footage, and archival materials along with voice over third party narration through out most of the film. There are a few interviews. The overall production value is minimal but well edited. The film is interesting to watch and it provides a lot to think about. In many ways this film might be classified as an “Attackumentary.” It doesn’t present any alternative views to what it claims to be true. Perhaps because it assumes everyone has heard the “establishment” version of history and events. It seems that many groups and individuals would dispute some of the information presented.
In many respectsZEITGEIST borders on a propaganda format in that it takes many ideas or coincidences out of context to construct scenarios that present new or fabricated realities. ZEITGEISTtreads a fine line between reality and extreme subjectivity. But it is worth watching and thinking about carefully.
WOMEN AND SPIRITUALITY THE GODDESS TRILOGY is a three-hour, three part series made between 1987 and 1992 sponsored by the National Film Board of Canada. Part 1 – GODDESS REMEMBERED looks at prehistory and evidence that goes back about 35,000 years beginning with stone age Cro-magnon culture where carved Goddess sculpture and cave paintings of 35,000 years ago are found in France. The notion of a Mother Earth creation story along with the nurturing role of women in peaceful hunter gather groups is established.
GODDESS REMEMBERED then looks at 10,000 BC to 1,500 BC. During that period there is evidence of Goddess worship presented. Before Greek culture established male warrior dominance, when the Goddess religions of the Minoans on Malta and Crete flourished. An abundance of artifacts are presented depicting unique Goddess worship, religion and culture. The documentary then traces the ways in which the Greeks turned the traditional worship of Goddesses into the worship of male Gods.
GODDESS REMEMBERED makes a strong case for the existence of early Goddess worship during prehistory and up to recent times in Europe and other places in the world. These practices appear to be more in sync with nature and Mother Earth than subsequent male dominated religions like Christianity.
Part 2 of WOMEN AND SPIRITUALITY – THE BURNING TIMES begins with the Celtic times when the notion of the Earth Goddess encountered the Romans. Initially in places like Bath, England the Romans appear to have respected the local traditions and religious believes. The healing waters from the hot springs were thought to be a gift of the Earth Goddess.
THE BURNING TIMES looks at the period when Christianity, threatened by Pagan Goddess Worship and “Wise Women” began a systematic campaign against women they branded “witches.” The documentary presents ample evidence that over a 300 year period there was a women’s Holocaust when millions of women were killed. The “Witch Craze” associated women’s traditional roles as healers, oracles, and nurtures with evil doings and the devil.
Using graphic art from this period and interviews with historians the documentary establishes the impact of the “Witch Craze” on the status of women every since those days. There was no room in the Christianity of that period for powerful women. All manner of things were blamed on women including plagues and failure of crops. A strong case is made for the notion that female sexuality is evil. Violence and sex are linked. Female spirituality is branded as witchcraft and connected with the devil.
Part 3 of WOMEN AND SPIRITUALITY – FULL CIRCLE looks at where Goddess Worship is today. Part three begins with story of the Great Egg, Mother Earth, which cracked open and gave birth to many children creating the Rainbow Family that spread around the planet. The documentary interviews women who call themselves witches, women scholars, and others who have revived the notion of Goddess Worship and Goddess religions. Rural or pagan rituals, that may date back to prehistory are part of the new God Worship tradition as seen in this part of the documentary.
FULL CIRCLE explores the present day idea of creative spirituality and the divinity in every person male or female. It also looks at the Goddess in nature and Mother Earth as a way of saving the planet from destruction.
WOMEN AND SPIRITUALITY – THE GODDESS TRILOGY is a well-made documentary series that presents a point-of-view in a straightforward fashion. It obviously advocates the notion of female spirituality. It presents historical information that leaves little doubt that Goddess Worship and religion centered around female divinity have been suppressed over the ages. This educational documentary sheds light on the status of women in society today as a result of history. It offers a view of women that needs to be understood in the world today.
Like many strong advocacy documentary efforts there is a tendency to present facts without a great deal of substantiation beyond generalizations. Assumptions based on these ideas become somewhat vague in places. Speculation of prehistoric cultures and their religious practices appears to be based on beautifully carved statuettes of women that embody the traditional attitude of prehistoric people toward women. This is an interpretation of what may have been. To the credit of the documentary as a whole evidence is presented that indicates that prehistoric people did respect and worship female spirituality.
WOMEN AND SPIRTUALITY – THE GODDESS TRILOGY offers an important body of information that cannot be ignored. It makes a convincing case for female spirituality and the actual role of women in religion, life and possibly saving Mother Earth, our home, from destruction.
DARK DAYS explores the lives of homeless people who live in the dark tunnels under Penn Station in New York City. Some of the residents have lived there for up to 25 years listening to the sound of the trains rumbling in and out. DARK DAYS begins by following a resident, outside walking along the street and then down into the tunnels past graffiti painted walls. After lowering himself down trough a hole, descending deeper into the underground, he talks about why he lives in the tunnels. He then he walks along the dark tunnel making his way to the place he calls home. He says he feels safer in the tunnels, living in what looks like a pile of rubble, than on the streets where he can get mugged or arrested.
In the tunnels life looks like scenes from an apocalyptic movie where what’s left of humanity lives underground in a rat-infested jungle of debris. The tunnels stretch for two miles, from 72nd street to 123rd street and Riverside Park to under Penn Station. The underground area at one time housed Railway infrastructure and maintenance. Before the tunnels, as far back as the late nineteenth century, there was a garbage dump nearby where homeless and poor people looked for food in the area by the Hudson.
Marc Singer who directed the film, apparently ended up living in the tunnels with the homeless people as he filmed. Some of the residents acted as crew for him. Singer struggled financially after two years of filming and had trouble getting the film edited since he himself went broke and homeless.
Underground a number of residents are introduced. Tommy, Tito, Ralph, Dee, Greg, Henry, Ronnie and others. All have a story about how they got there and how they live. Many are long-term residents who have built small makeshift homes out of plywood and other materials they have scavenged and dragged through the tunnels. They earn money by selling found objects pulled from trash on the streets and back alleys of Manhattan, and by collecting recyclables. They find food in the garbage cans of restaurants, cook on makeshift stoves and steal electricity from somewhere in the dark maze. Many of the residents have pets. Tommy has several dogs that he takes care of. There are others with dogs and cats. Many residents try to take care of their homes, making them livable and secure from robbery; while fighting off rats and disposing of garbage and waste. But beyond the small huts and shacks there is refuse and rats everywhere as seen in the film.
Dark Days – 2000 – 84 Minutes – Black & White Directed by Marc Singer, Editor Melissa Neidich, music by D J Shadow – Wide Angle Pictures present a Picture Fan Production in association with the Sundance Channel. Awards - Sundance Film Festival.
Either in interviews or by observing conversations between residents, the story of how each person got to this point is told in a casual and unassuming fashion. Interestingly the residents don’t assign blame, except on themselves, for having made mistakes that got them where they are. The film is shot in black and white. There are some lights being used but not much is seen beyond the throw of the illumination. The lack of extensive lighting gives the feel of what it must be like living in this place where light is always minimal or not there at all. When the trains come through they are like shapes with a single headlight and loud horn. Audio is adequate and there is a good sound track by D J Shadow. Director Marc Singer manages to graphically capture the reality of what living in the tunnels is like. For example one man tries to shower under a dripping cold water pipe while another uses a bucket of water.
Some of the residents are crack heads who use whatever resources they have to buy crack. But many are just homeless, down on their luck or finally kicking the drug habit that got them there. Toward the end of the film Amtrak gives the residents 30 days to leave or they will forcibly evict them. Mike Harris from the Coalition for the Homeless gets involved and manages to negotiate federal housing for many of the residents.
A few of the residents are seen moving into their apartments. They are happy to be out of the tunnels and vow to never be homeless again. The DVD includes and update to the documentary. Most of the homeless residents in the film who got moved to housing start new lives and have some success working once given the opportunity.
DARK DAYS shows, as one resident states, that humans can adapt to any situation no matter how desperate and degrading it may be. It also reveals a subculture of homeless people who live unseen, whether underground in tunnels, or on vacant lots in plain site.
The ongoing war that ravaged the Sudan, in Africa, has killed millions of people and displaced thousands more. Twenty thousand young boys escaped being slaughtered when troops from the north swept into their villages killing men and taking woman and girls. The boys ended up in refugee camps in Kenya. They are the LOST BOYS OF SUDAN a documentary that looks at what it’s like to be a refugee from Sudan who is suddenly transported to the United States and a new life. While there is a support system to help the refugees adjust and acclimate to the new alien environment, there are many cultural differences.
The documentary opens with some beautiful shots of the African environment. After some introductory information it goes to the refugee camps where a number of boys are being prepared to go to the United States as part of a refugee program. They have mixed emotions about leaving friends and family but feel that the opportunity is beyond their expectations. Soon they are on planes ultimately headed for Huston, Texas, Nebraska, Kansas and other destinations around the US.LOST BOYS OF SUDANfocuses primarily on two of the boys.
The boys speak some English but have no idea what life in the United States will be like. They have no idea how different it will be from their present life. The culture shock they experience coming to the United States is the basic theme of the film. But it is not really dealt with in depth, except for brief moments where the boys are seen getting instructions from refugee staff, settling in to their apartment or playing basketball. Despite its slow pace and tentative storytelling,LOST BOYS OF SUDANis worth experiencing because it looks at human frailty and the reality of refugees.
LOST BOYS OF SUDANis well meaning and does explore the experience of two displaced persons, away from their homes and culture trying to adjust to a new life. What it does not do in an in depth way is show the cultural differences and how the boys deal with daily life in the new environment. There are only short scenes where the boys are seen practicing basketball, working at menial jobs, going to school or hanging out at their apartments. Beyond some candid moments, you really don’t get to know these young men or how they really feel about their lives past and present. They seem stranded in a predominately “white” world, that while friendly, keeps them at arms length. It feels, to some extent, that the documentary also keeps them at “arms length.”
LOST BOYS OF SUDAN 2003 87 Minutes Directed by Megan Mylan and Jon Shenk – POV – Actual Films and Principe Films Docurama — Winner Independent Spirit Award.
LOST BOYS OF SUDANuses a Cinema Verite documentary style, basically observing and not commenting, only conducting limited interviews with the boys. No interviews with social workers, teachers or others who might shed some light on what the boys are experiencing. You are left to decide if they are adjusting or not, with no conclusions at the end of the film as to how each of the two main characters fares down the line; although we do see one boy getting a cap and gown picture taken. Most of the film is a montage of scenes showing the boys going about a part of their lives. There is very little exploration of the cultural and ethnic life of the boys in the US. A perfect opportunity to hear from a large number of the boys was at a retreat at a YMCA camp for a week. Instead there are mostly scenes of them jumping into a swimming pool and chanting about the ultimate victory of their homeland group in Sudan.
There are a few glimpses that show some of the pressures on each of the boys. Studying, working, being asked by relatives back home to send money and being accepted by the Americans they come into contact with. It would have been interesting to hear more from the boys regarding their experiences and thoughts about being refugees in a new country with a culture very different than the one they left. The film does show the boys in situations where they are the sole black person among groups of American white people, either socially, at school or practicing basketball. Their discomfort and awkwardness is apparent.
The pace of LOST BOYS OF SUDANis slow. The editing feels fragmented and doesn’t seem to come together enough to create a cohesive story line. Beyond the opening montage of shots, the cinematography is shaky and uses only available light.
Despite it’s loose storytelling formatLOST BOYS OF SUDANdoes manage to convey some of the culture shock and the tremendous challenges these boys face trying to cope and survive in their new environment and country. The difficulty is that the observer style leaves a lot of questions unanswered. There is no intimacy in anyway, you do not really get to know the main characters well enough to identify with them and their lives.
One of the great things about making documentaries is that it’s always a learning experience. In BORN INTO BROTHELS, Zana Briski shares her firsthand experience making the film with you as she goes into the brothels of Kolkata, formerly known asCalcutta,West Bengal India, a city of 4.5 million people in a even larger metropolitan area of 15.7 million inhabitants, the capital of East India. BORN INTO BROTHELS takes place in the Red Light district of Kolkata (Calcutta) where Zana Briski, a photographer from New York, initially embedded herself to document the life of the women who work there. But she soon becomes more concerned with the children of the prostitutes, those who are “Born Into Brothels.” Because the women are working in a trade that is illegal, they are criminals and their children are branded as criminals as well. The girls will ultimately have no choice but to enter the sex trade (known locally as the line) and the boys will become involved in illegal activities like drug dealing.
Zana obtains cameras, gives them to some of the children introducing them to photography. She teaches them how to take pictures and how to see through the lens. The children become interested in the art and begin to create photographs that are first hand portraits of the life they see around them. As Zana gets to know the children she becomes dedicated to finding a way to get them out of the brothels and into a better life. Mainly the film focuses on eight or nine of the children. As the documentary progresses the question arises as to whether “Art” can or will be permitted, to transform the lives of the children.
BORN INTO BROTHELS combines both first person narration by Zana Briski, interviews with the children and mothers with views of the environment, and montages of the photographs taken by the children involved in the film. You can see the progress the children are making taking pictures and a glimmer of hope enter some of their lives. Each child has his or her own story that they tell as the film progresses. The cinematography is intimate bringing you into the world of the children and their families, despite the fact that shooting is difficult in the available light only environment. The editing of the documentary is excellent keeping pace with the sounds and music of the story.
BORN INTO BROTHELS 2004 85 Minutes Directed by Ross Kaufman and Zana Briski THINKFilm HBO/CINEMAX FILMS ACADEMY AWARD WINNER BEST DOCUMENTARY FILM
Zana struggles to find schools that will accept the children. Most schools will not accept them because they are considered criminals by default. The children need identification papers that are difficult to obtain. Certain mothers of the girls seem reluctant to let the girls leave for boarding school. Avijit, a precocious and artistically talented young boy, looses his father and becomes apathetic and withdrawn. It is clear that the odds of giving the children a life outside of their environment and accident of birth faces unrelenting pressures, difficult or impossible to overcome.
But against the odds, a number of children have their lives transformed by becoming involved in the art of photography. The creative process awakens them and helps them to realize there is a future beyond the place they find themselves. The creative experiences reveals that problems can be solved. Something that wasn’t there before can be created larger than the sum of its parts.
BORN INTO BROTHELS is an important documentary in a number of ways. It points out problems, explores issues, searches for solutions and documents a process that alters the reality of all of the participants in a positive way. It also changes the perspective of the viewer of the film. Many documentaries point out problems, social issues or historical concerns; only a few actually inspire and facilitate change.BORN INTO BROTHELS is an exceptional documentary. Zana Briski shares her learning experience and the reality of the world being explored as it happens, from start to finish. BORN INTO BROTHELS presents a model for using the creative process, in this case learning photography, to evoke change. It is a successful advocacy documentary.
MILTON GLASER – To Inform & Delight is a unique documentary profile of an artist whose widely seen and acclaimed work carries universal appeal. Milton Glaser is an amazing talent with a wonderful outlook on life and art. He appears to be someone who has been successful at what he creates and the way he lives. MILTON GLASER, the documentary explores this man’s extraordinary life and work. Yet outside New York City art and design circles, the average person does not always associate Milton Glaser with his work. However, there is one small piece of his work, an icon that the whole world now recognizes. It is simple graphic that Glaser designed with the idea that a puzzle always engages the viewer (I [heart] NY).
The documentary profile begins with Glaser’s early life. He relates how he got started drawing pictures for his friends. The documentary uses a combination of interviews with Glaser as well as interviews, interaction with friends and clients. Glaser is seen working and talking about his work, which is well illustrated in the film. It isn’t long before you realize how much this man has produced. From graphic design, being involved in the ownership, design and start up of New York Magazine to designing scores of covers for other magazines. While Glaser might say his work doesn’t have a style, collectively his work shares an unassuming and direct quality much like Glaser himself.
MAGAZINE COVER DESIGNED BY GLASER -- USED FOR THIS SPECIAL EDITION SINCE 1997
The documentary MILTON GLASER has an intimate feel similar to Sketches of Frank Gehry documentary but it goes deeper into Glaser’s personal views than director Sidney Pollack does in the Gehry documentary. Both stories explore a creative process that is unique to each man. It was good that they finally introduced Glaser’s wife Shirley and the fact that they had worked together on at least one project, a children’s book. Of course the documentary wasn’t about her, obviously they are a very private couple, but maybe something more about their apparent long-term relationship might have given us some additional insight into Glaser’s character. Perhaps there is another documentary to be made one day about successful artists and their long-term relationships and marriages.
Milton Glaser is very articulate. Throughout the documentary he shares thoughts and philosophy gained over his lifetime. For example; speaking about travel he asks, “How anyone traveling to Barcelona could not be changed after seeing some of Gaudi’s work? …Travel penetrates your consciousness.” In another instance he mentions that …”Everything is related to or defined by its opposite.” Watching and listening to this documentary stimulates thinking.
Glaser talks about teaching, which he also appears to enjoy and find satisfaction in doing. He reflects on the idea of passing on what he’s learned to the next generation and how important this is. He states, “What students get from a good teacher is not instruction… They get a demonstration of someone’s view of life. A way of perceiving the world.”
There are a few technical or editing glitches in the documentary but nothing too disturbing. The overall quality of the cinematography was excellent. The mix of interviews, conversations, action and illustrations moves the story along in an intimate and informative way. One slightly puzzling thing is that Glaser is seen in a few shots talking to someone, who probably is the director of the film, but she never asks a question or says anything, which makes you wonder why she’s there and if there wasn’t some other editing choice that could have covered the conversation. These scenes don’t really match the style of the rest of the film. But these are minor concerns about a strong documentary that is a fine example of nonfiction that both entertains and informs. MILTON GLASER – To Inform & Delight, is a documentary everyone, especially anyone involved the arts will enjoy and learn from.
J R Martin
MILTON GLASER – 2008 – 73 MINUTES – DIRECTED BY WENDY KEYS – ARTHOUSE FILMS – DISTRIBUTOR NEW VIDEO
