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ZEITGEIST THE MOVIE

Friday, December 2nd, 2011

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 of ZEITGEIST explores 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 ZEITGEIST attack 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.

ZEITGEIST presents 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 respects ZEITGEIST 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. ZEITGEIST treads a fine line between reality and extreme subjectivity. But it is worth watching and thinking about carefully.

J R MARTIN – AUTHOR CREATE DOCUMENTARY FILMS, VIDEOS AND MULTIMEDIA — See other documentary reviews by J R Martin at http://www.jrmartinmedia.com/reviews

TRAILER ZEITGEIST

Tags: 911, Christianity, Documentary, Documentary Film Review, Federal Reserve Bank, Horas, Jesus, Religion, Trade Towers, war, ZEITGEIST THE MOVIE
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WOMEN AND SPIRITUALITY - THE GODDESS TRILOGY

Friday, December 2nd, 2011

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.

J R MARTIN – AUTHOR CREATE DOCUMENTARY FILMS, VIDEOS AND MULTIMEDIA — See other documentary reviews by J R Martin at http://www.jrmartinmedia.com/reviews

TRAILER WOMEN AND SPIRTUALITY – THE GODDESS TRILOGY

Tags: GODDESS WORSHIP, MOTHER EARTH, ROLE OF WOMEN, WITCHES, WOMEN AND SPIRITUALITY, WOMEN AND SPIRTUALITY, WOMEN IN PREHISTORY
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DARK DAYS - HOMELESS LIVING UNDERGROUND

Monday, November 28th, 2011

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.

J R MARTIN – AUTHOR CREATE DOCUMENTARY FILMS, VIDEOS AND MULTIMEDIA — See other documentary reviews by J R Martin at http://www.jrmartinmedia.com/reviews

TRAILER

Tags: Dark Days, Homeless, Homeless living in subway tunnels, Penn Station NY, Tunnels
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LOST BOYS OF SUDAN

Friday, November 11th, 2011

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 SUDAN focuses 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 SUDAN is worth experiencing because it looks at human frailty and the reality of refugees.

LOST BOYS OF SUDAN is 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 SUDAN uses 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 SUDAN is 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 format LOST BOYS OF SUDAN does 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.

J R Martin

TRAILER

Tags: civil war, Dinka tribe, documentary film reviews, genocide, Lost Boys of Sudan, regugees, religions war, War in Sudan Africa
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BORN INTO BROTHELS - "THE POWER OF ART TO TRANSFORM LIVES"

Monday, November 7th, 2011

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 as Calcutta, 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.

J R Martin — AUTHOR CREATE DOCUMENTARY FILMS, VIDEOS AND MULTIMEDIA — See other documentary reviews by J R Martin at http://www.jrmartinmedia.com/reviews

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Tags: Academy Award Winning Documentary, Born Into Brothels, Calcutta, Kids with Cameras, Kolcata, Zana Briski
Posted in Documentary Film Reviews, News | 6 Comments »

MILTON GLASER TO INFORM & DELIGHT

Tuesday, October 11th, 2011

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

INTRO & TRAILER

Tags: Art, DOCUMENTARY REVIEWS, Graphic Desgin, I love NY, Milton Glaser, NY MAGAZINE, Teaching
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GUNNER PALACE - SOME WAR STORIES WILL NEVER MAKE THE NIGHTLY NEWS

Sunday, October 9th, 2011

Documentaries like 2011 Oscar Nominee RESTREPO and Fiction Films including Oscar Winning HURT LOCKER are strong stories about War. GUNNER PALACE is a documentary that offers insight into the soldier’s life and their psychological attitudes in a war zone. The daily grind of patrols, guns and occupying captured territory and property are seen from the inside looking out. A soldier’s sense of humor under these conditions may seem bizarre, macabre or odd in these situations but it is representative of the stress of dealing with life threatening situations and conducting war. Many are young men who’s only experience with war or combat previously was a video game.

GUNNER PALACE, is narrated by Michael Tucker, a filmmaker embedded with the 2/3 Field Artillery, a.k.a. “The Gunners,” for two months in Iraq late 2004. The shooting style is basic, largely handheld, but first person in that it feels that you are seeing the action through the eyes of the soldiers. GUNNER PALACE is directed, produced, written and edited by Michael Tucker and Petra Epperlein.

There are some casual interviews but most of the coverage has a “direct cinema” observer feel. After a quote from Donald Rumsfield, that he is …”pleased to be able to celebrate your liberation [Iraq People's]” and that … “Baghdad is bustling with commerce;” GUNNER PALACE opens as if running with the narrator down a street under fire. This, after another quote from Rumsfield is seen on the screen basically saying that “…everything is under control.” But the documentary is not pro or against the war it’s really about being a soldier in the army in a war zone.

TRAILER GUNNER PALACE

The Gunners are housed in the partially bombed out palace once lived in by Saddam Husein’s son Udday. The troops take advantage of what’s left of the luxurious palace including the pool for R & R.

In many ways GUNNER PALACE is reminiscent of The Anderson Platoon (1967) a Vietnam era documentary where the filmmakers take fire with the soldiers. The director, Pierre Schoendoerffer, a French veteran of the Indochina war, returns to Vietnam where he observes American soldiers in the 1st Air Calvary Division for six weeks at the height of fighting in 1966. It’s a big jump from Vietnam to Iraq in 2004, but the soldier’s life is much the same.

TRAILER THE ANDERSON PLATOON

Comparing these two documentaries made about war thirty-eight years apart reveals both similarities and many differences. Both show American soldiers in combat and the bonds that are formed. The differences may be symbolized by the music played by the men in the face of the constant threat of danger. The Anderson Platoon uses R&B and blues where as GUNNER PALACE is firmly accompanied by Hip Hop and Rap. There is also the reality that earlier film includes draftees and the more recent film an all volunteer unit.

Both films fall into the “Direct Cinema” or “Cinema Verite” style of documentary, but there is quite a bit of difference in the camera work and feel of the films. For starters The Anderson Platoon is filmed in Black and White using film. GUNNER PALACE is color video camcorder. There’s a much different texture and feel with the black and white film than with the color video. Black and White, to some extent, removes the viewer from the actuality of the environment because it is an abstraction, since most humans perceive reality in color. The electronic color video while closer to reality has a colder look. A small video camcorder allows much more mobility in the style of shooting than a sixteen millimeter film camera which is larger and heavier.

The editing of each film also has a much different feel both because of when they were made and the type of coverage each film had available. The pace of editing is generally much faster today than thirty-eight years ago.

GUNNER PALACE is a candid look at one aspect of the American military experience in Iraq 2004.

J R MARTIN – AUTHOR – CREATE DOCUMENTARY FILMS, VIDEO AND MULTIMEDIA – REAL DEAL PRESS

GUNNER PALACE 2004 87 MINUTES Directed by Michael Tucker A Nomados Film – PALM DISTRIBUTION

Tags: 2/3 Field Artillery, Bagdad, Documentary Film Review, Gunner, Iraq, Saddam Husein’s son Udday, war
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ORWELL ROLLS IN HIS GRAVE -- "Who controls the past... controls the future - who controls the present controls the past." -- Orwell, 1984

Sunday, September 18th, 2011

“Who controls the past… controls the future – who controls the present controls the past.” — Orwell, 1984. Using quotes from George Orwell’s novel, 1984, the documentary film, Orwell Rolls In His Grave, written, directed and edited by Robert Kane Pappas explores the role of media in today’s world. It is a prophetic documentary conveying a message that seems even more urgent in 2011 than when the film was made in 2004. Orwell Rolls In His Grave asks controversial questions about a number of issues concerning the political and corporate control of the public’s need to know. Pappas, aided by a number of knowledgeable individuals, deconstructs events in recent history that bring to light the Orwellian world we live in today.

UPDATED PROMOTIONAL TRAILER

Are we living in a “media-ocracy?” Has the media become the authority for what news and information reaches the public? Is “news” about events or marketing for viewership? These and many other topics are looked at in more than the Fox News fake “fair and balanced” format. Orwell Rolls In His Grave includes clips of Michael Moore speaking, interviews with Representative Bernie Sanders of Vermont, Charles Lewis, director of the Center for Public Integrity, Greg Palast, author of The Best Democracy Money Can Buy, Vincent Bugliosi, former L.A. prosecutor and legal scholar, and many others.

Interviews in Orwell Rolls In His Grave are combined with graphics, narration, news clips, statistics, quotes and archival film and photographs to create a narrative that appears to have come true in real life, today, right here in the Unites States and perhaps the world. Aside from ominous dramatic music underscoring quotes from Orwell and other scenes, the film does not try to manipulate the audience. It presents facts, asks questions and clearly supports a point-of-view that is difficult to dispute given the evidence presented.

One of the topics explored in Orwell Rolls In His Grave is how the media rolled over in the 2000 election during the dispute over whether Al Gore or G.W. Bush had won Florida. The film asks why the media has not looked into issues concerning the huge raise in wealth for a small number of Americans as the vast majority of citizens have seen a decrease in earnings.

“If you repeat a lie often enough people will believe it.” – Joesph Goebbels

Orwell Rolls In His Grave presents facts that every American should consider. Goebbels, Hitler’s propaganda minister, said: “…what you want in a media system [is] ostensible diversity – that conceals actual uniformity.” The film examines media today in this context and others. If all the newspapers, television, radio, and cable systems are owned by a small number of corporations how much diversity is there? The myth of the ‘Liberal Media” is examined in the context of the reality that the media is owned by corporations with conservative interests. While individual reporters or writers may harbor progressive thoughts, do those ideas reach a mass audience?

Orwell Rolls In His Grave is a social, historic and advocacy nonfiction statement. It asks questions, and explores issues using an objective reality format that presents actuality in a way that makes you think about the world you live in today. This documentary removes the foggy eyeglasses issued by indifference and spin to reveal a world that would make Orwell Roll In His Grave.

J R MARTIN – AUTHOR – CREATE DOCUMENTARY FILMS, VIDEO AND MULTIMEDIA – REAL DEAL PRESS

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ORWELL ROLES IN HIS GRAVE – 2004 – 105 MINUTES – DIRECTED BY Robert Kane Pappas – Go Cart Films and SAG HARBOR – BASEMENT PICTURES

Tags: Bernie Sanders, Documentary, documentary film reviews, Fox News, George Orwell, Iraq, mass media, Media, Michael Moore, News, propaganda, rupert murdoc, war is peace
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DOGTOWN AND Z-BOYS - The Birth of Extreme

Friday, August 19th, 2011

DOGTOWN AND Z-BOYS, directed by Stacy Peralta, is a documentary that brings you into the world of skateboarding starting in the 1970’s after skateboards were introduced in the 1960’s. Peralta has special insight into this world, as he was one of the original Dogtown Zephyr Boys Skateboard team and an award winning skateboarder in the day. He also founded the Z-Boys Bone Brigade.

The documentary spends some time in the beginning of the story on the surfing culture that existed in this area of California, namely a run down area of Venice Beach on one side of Wiltshire Boulevard where skateboarding, influenced locally by surfboarding, was ultimately radically changed. It seems the documentary may spend a little too much time on surfing before getting into the subject of skateboarding, but once that happens things move along; an interesting, entertaining and informative documentary about the history and sport of skateboarding emerges. The opening makes a strong connection between the surfing culture and the Z-boy style of skateboarding.

DOGTOWN AND Z-BOYS makes extensive use of archival footage, photographs and interviews with many of the Z-Boys (there was one Z-Girl too). You get to see them as young skateboarders and as they were in 2001 when this documentary was made. These guys are legends in the skateboard world because they transformed the sport with a new style that included an assertive approach to skateboarding. Interviewees include Tony Alva, Jay Adams, Stacy Peralta, Craig Stecyk, Peggy Oki, Tony Hawk and others. After the Z-Boys appearance at the Delmar Nationals in 1975 the world of skateboarding changed forever according to the film. The “in-your-face style” of the Zephyr Boys Skaters destroyed the competition and became a major influence on future extreme sports.

DOGTOWN AND Z-BOYS as a documentary demonstrates a style of nonfiction filmmaking that Stacy Peralta will build on for subsequent documentaries like RIDING GIANTS and KRIPS AND BLOODS in later years. After a strong opening that sets the stage and tone of the documentary, there’s a historical back story leading up to the contemporary scene. A number of parallel themes are developed and seen throughout the films. In the case of DOGTOWN AND Z-BOYS, the inspiration and influence of surfing is seen as motivator for the Dogtown Z-Boys skater’s style both in technique and attitude. Once that element is established DOGTOWN AND Z-BOYS looks at events, individuals, and technology in parallel over the years leading up to the contemporary scene at the time the film was made. The documentary has both a dramatic and rhetorical structure. Dramatically it breaks down into three acts. The first act sets the stage for the obstacles facing the Dogtown boys and their new style of skateboarding. The second act picks up from the boys appearance the Delmar competition and the hostility they faced from the traditional skateboarding community. In this act the personal experiences of most of the Dogtown skaters are revealed in an essentially rhetorical fashion. In the third act many of the obstacles are resolved, the fame and the success of the skaters is shown. Finally the team gets access to a large drained private swimming pool on a wealthy patron’s property that they nick name the “Dog Bowl.” It’s here that they take their style and moves to a new level. Other issues and parallel themes like the fate of these talented individuals are also revealed at this time.

DOGTOWN AND Z-BOYS is partially voice over narrated by Sean Penn in a rather flat nondescript, monotone voice. Most of the narration is first person, from interviews with the skaters, individuals involved in the early surfing days of Dogtown, and others like Henry Rollins who witnessed or were influenced by this style of skateboarding. The first-person interviews tell the story much better than the voice over information. Sean Penn is a fine actor but maybe if he had used a little more inflection or hint of emotion reading the voice over it would have carried better.

Good documentary films leave you with new insights and information about their subjects. They may change your mind about stereotypes or advocate issues and ideas. DOGTOWN AND Z-BOYS does “all of the above” and entertains at the same time. You may look at that skateboarder you encounter on the street in a different light once you see DOGTOWN AND Z-BOYS.

J R MARTIN – AUTHOR – CREATE DOCUMENTARY FILMS, VIDEO AND MULTIMEDIA – REAL DEAL PRESS

DOGTOWN AND Z-BOYS 2001 91 MINUTES – Directed by Stacy Peralta, Produced by Agi Orsi, Co-Producers Glen E. Friedman, Stephen Nemeth and Daniel Ostoff, Executive Producer Jay Wilson, Editor, Paul Crowder, Production Designer C.R. Stecyk, DP Peter Pilafian. A Sony Pictures Classics Release

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Tags: DOCUMENTARY FIM REVIEWS, DOGTOWN AND Z-BOYS, SKATEBOARDING, SKATERS, Stacy Peralta
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IT MIGHT GET LOUD - The Edge (U2), Jimmy Page (Led Zeppelin) and Jack White (The White Stripes, The Raconteurs)

Thursday, August 11th, 2011

IT MIGHT GET LOUD, directed by Davis Guggenheim, tells the story of three well-known electric guitarists, each a legend in his own right. The Edge (U2), Jimmy Page (Led Zeppelin) and Jack White (The White Stripes, The Raconteurs) jam on an empty stage beginning a dialog that covers more than their music. If you like electric guitar, if you ever played or tried to play guitar or if you just like rock music you will enjoy this documentary. Each of these men has their own unique style and approach but they all share a passion for this instrument and the music they produce with it. What ultimately emerges from the speakers when these musicians perform is each of their individual voices.

There’s a lot to like in this well paced journey that explores the passion these musicians feel for their music and where that passion got started. It’s not only the archival footage of Jack White playing with bloody fingers, Jimmy Page reliving the first time he heard Rumble performed by Link Wray, or Edge playing Sunday, Bloody Sunday, after you know what inspired it, that tells the story. In this film it’s the blend of past, present and sincere emotion that creates the narrative.

IT MIGHT GET LOUD is centered on the jam session that brings the three guitarists together, however, most of the story is about how they got there and where they are now. The back-story for each musician is parallel developed and edited with interviews and archival footage. The archival footage of performances by each of the musicians provides an insightful dimension to where each person has been and their playing style.

If you are interested playing electric guitar you will learn something from IT MIGHT GET LOUD about technique and other aspects, including the craft of building and modifying your own guitar as The Edge has done, or how certain notes can be played. The film opens with Jack White making a rudimentary electric guitar with a coke bottle on a piece of wood, the guitar string and an input for the amp. There’s an abundance of archival footage of performances by each musician and the groups they are associated with. Even as you see clips of the current session the story quickly jumps back into the individual lives and performances of each person. What emerges is the soul and philosophy of each person toward their music and playing.

When Jimmy Page plays an old LP of Link Wray, performing Rumble, a guitar classic, you can begin to understand how he feels the music. This feeling is strong enough to bring you into the room with Jimmy so that you feel it too. Jack White tells how he is the youngest of ten children growing up in a predominately Latin area of SW Detroit, at a time when playing an instrument was not cool. Edge talks about growing up in Ireland and his first attraction to the guitar and music.

All of the back-story for each of these musicians is blended with the music they create, and short clips of their jam session right up until the end of the documentary when enough is now known about each of them to understand where they are coming from as they spectacularly play a few final songs together.

From a technical perspective IT MIGHT GET LOUD uses parallel story development in a way that contrasts each of the three musicians, the music they play, their experience and unique passion for their craft. The extensive use of archival footage edited into segments along with interviews is integrated with short clips of the current jam session until the end of the film where a longer session ensues. Excellent directing, editing and cinematography along with audio mixing.

IT MIGHT GET LOUD is a wonderful documentary that entertains and informs you about the world of making music and the passion these musicians have for the guitar and the music they create.

J R MARTIN – AUTHOR – CREATE DOCUMENTARY FILMS, VIDEO AND MULTIMEDIA – REAL DEAL PRESS

IT MIGHT GET LOUD 2009 – 98 MINUTES – DIRECTED BY DAVIS GUGGENHEIM – A THOMAS TULL PRODUCTION - The Edge (U2), Jimmy Page (Led Zeppelin) and Jack White (The White Stripes, The Raconteurs) SONY PICTURES CLASSICS

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