DVD

All The President’s Men

by James McNally on September 18, 2007

in DVD

All The President's Men

All The President’s Men (Director: Alan J. Pakula): I was seven years old when the Watergate scandal broke in 1972, and I learned about it mostly from reading Mad magazine, believe it or not. Still, 35 years later, I’m not exactly sure exactly what happened, and I ser­i­ously believe that nobody under 50 even cares. But what Watergate showed us is that the abuse of power in a demo­cracy is not new, but that stupid and evil people some­times don’t get away with their crimes. That is, if the media is doing its job.

All The President’s Men was ori­gin­ally a book pub­lished by the two men respons­ible for breaking the story, Carl Bernstein and Bob Woodward, both reporters for the Washington Post at the time of the scandal. Pakula’s film teamed up two of the era’s hot­test actors, Dustin Hoffman and Robert Redford, and attempted to dram­atize the story of per­haps the biggest polit­ical scandal of the 20th cen­tury. But though the film scooped four Oscars (including an adapted screen­play Oscar for writer William Goldman), I don’t think it’s aged well.

Audiences approaching the film today with little back­ground know­ledge will come away baffled, since the story moves along at break­neck pace, with names being tossed out with no con­text. The film­makers may have assumed that in 1976, people would still be familiar with the story, since it occu­pied the news­pa­pers for months on end. But without that back­ground, it can seem pretty opaque. As well, we learn next to nothing about any of the char­ac­ters, most not­ably our intrepid journ­al­ists. Worst of all, des­pite a run­ning time well over two hours, the con­clu­sion of the film is remark­ably weak. A final road­b­lock seems to be wrapped up hastily and the ending dis­ap­points with nothing but a tele­type machine informing us of sev­eral indict­ments. There’s not even any archival footage of Nixon talking about the scandal, nor of his resignation.

Mad Magazine, December 1974

Despite its obvious weak­nesses, I still feel this is an important film, because it inspires the belief that journalism’s func­tion is to empower demo­cracy by speaking the truth to power. It’s out­rageous that increasing cor­porate own­er­ship and con­sol­id­a­tion of the media land­scape has left our demo­cracy weaker and less account­able. My only wish would be for someone to make a strong doc­u­mentary about Watergate to edu­cate a younger gen­er­a­tion. Maybe they could even recycle some of Mad’s satir­ical Watergate songs.

7/10(7/10)

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Deep Water

by James McNally on September 4, 2007 · 3 comments

in Documentaries,DVD

Deep Water

Deep Water (Directors: Louise Osmond and Jerry Rothwell): I’m not sure how I man­aged to miss this one until now. Ten years ago, the teacher respons­ible for any HTML know­ledge I might pos­sess shared a quirky and incred­ible story with our class. Donald Crowhurst was an inex­per­i­enced sailor from England who in 1968 entered, at the last minute, a race to sail around the world alone. Despite his lack of pre­par­a­tion and inex­per­i­ence, his reg­ular reports seemed to have him leading the race. And then sud­denly his reports stopped. Some time later, his boat was found drifting in the North Atlantic, com­pletely off course and on the other side of the world from his last reported pos­i­tion. Crowhurst wasn’t on board, but invest­ig­ators dis­covered that he’d been keeping two sets of log­books and trying to deceive the race organ­izers into thinking he was win­ning. As his true and reported courses diverged, Crowhurst seemed to lose his sanity and his last entries are heart­breaking in their con­fu­sion. At the time I heard the story, the only book written on the sub­ject, The Strange Last Voyage of Donald Crowhurst, was long out of print, but I was able to find a copy a few years later through eBay. Happily, the book is now back in print along with another book called A Voyage for Madmen that covers the rest of the race par­ti­cipants in more depth. To make a long story short, the aspiring doc­u­mentary film­maker in me always thought this would be an amazing film, and I even toyed with the idea of trying to buy the rights. It seems someone has beaten me to the punch. And that’s a very good thing.

This is an incred­ible story and I abso­lutely cannot wait to see this film. It opened the­at­ric­ally in Britain last December and is now in lim­ited release in the US but there is no planned the­at­rical release in Canada at this point. Pity.

UPDATE (December 31, 2007): Alliance Atlantis will be releasing the film on DVD in Canada on January 8th. Here’s my review of the DVD:

After my dis­ap­point­ment at the film’s lack of a the­at­rical release in Canada, my ela­tion at the DVD release could only have been expected. This unbe­liev­able story needs to be known by more people, and I’m glad to report that Osmond and Rothwell’s film does a great job of telling it. Not only that, but for those with no back­ground at all about the Crowhurst story, it builds the sus­pense care­fully and doesn’t reveal the mys­tery right away. If you’ve read this far in my review, you’ll know that I’ve already spoiled that mys­tery by telling you all about it above, but you will want to see this film to try to under­stand what drove this decent and mild-mannered man over the edge to mad­ness and suicide.

There is ample back­ground material on the Sunday Times Golden Globe Round the World Race, a com­pet­i­tion to become the first person to sail around the world alone and without stop­ping. This was some­thing like the first reality tele­vi­sion show, albeit broad­cast in the pages of a news­paper, and it attracted an enormous amount of atten­tion. In the end, nine men entered the race, and most had had much more sailing exper­i­ence than Donald Crowhurst, who was a late entry and con­sidered some­thing of a dark horse. Of course, the media played up that angle and when it emerged that Crowhurst was set­ting sail in an innov­ative self-designed tri­maran, the journ­al­ists por­trayed him as some­thing of a genius. In reality, he was the strug­gling pro­pri­etor of a busi­ness that sold nav­ig­a­tional instru­ments for boats, and his real ambi­tion was to pull him­self out of some dire fin­an­cial dif­fi­culties. In his des­per­a­tion to get funding to build his boat, he signed a restrictive con­tract that would punish his early with­drawal from the race by making him liable for the costs. As the dead­line to set sail approached, the boat was nowhere near ready to sail, but he found him­self pres­sured into launching anyway. A short test journey didn’t augur well, though. At the cere­mo­nial launch, the cham­pagne bottle didn’t break when crashed against the hull (a bad omen) and the journey took two weeks instead of the expected three days, thus eating fur­ther into his scarce pre­par­a­tion time. In addi­tion to mech­an­ical prob­lems with the boat, Crowhurst was also woe­fully inex­per­i­enced as a sailor, some­thing he was keen to hide from his sponsor and the press.

The race offered two prizes. The Golden Globe trophy for the first boat to arrive back in England, and a £5,000 cash prize for the fastest time. These were sep­arate things because the race rules allowed the sailors to leave any­time between the begin­ning of June and the end of October. Needless to say, Crowhurst was the last to launch, on October 31, 1968, and due to the boat’s unfin­ished con­di­tion, he quickly ran into trouble. After only a few weeks, he knew that the boat wouldn’t with­stand the wild seas in the Southern Ocean. But because of the pre­carious fin­an­cial situ­ation he was in, he real­ized that drop­ping out would ruin him, even though con­tinuing might kill him. It is with this dilemma in mind that he for­mu­lated what he thought was a way out. He began sending back reports in which he claimed to have covered much greater dis­tances than he had in actu­ality. The problem became worse when his actual and reported pos­i­tions grew fur­ther and fur­ther apart. In the end, he kept two sep­arate log­books and cre­ated a fic­tional voyage in which he was gaining on his com­pet­itors. His plan was simply to sail around the south Atlantic and wait for the rest of the field to actu­ally cir­cum­nav­igate and sail north from Cape Horn. By the time the other boats had caught up to his actual pos­i­tion, he hoped to join them again and slip in around fourth or fifth place, where no ques­tions would be asked. He might not win the fame or for­tune he was after, but he could save face.

Unfortunately for him, the race had claimed many of the other boats, and after Robin Knox-Johnston had claimed the first home prize on April 22, 1969, and his nearest com­pet­itor, Frenchman Bernard Moitessier had aban­doned the finish line and decided to keep sailing, it looked like Donald Crowhurst might be in line to win the fastest time award. When the boat of Nigel Tetley, the only boat ahead of him, sank on May 21st, Crowhurst knew that if he fin­ished the race at all, he would be wel­comed as a hero and sub­jected to media scru­tiny. In his men­tally unbal­anced state, he left the boat sailing very slowly north, writing increas­ingly unhinged reports in his log­books. The last entry is from July 1st and is for all intents and pur­poses a sui­cide note. The boat was found drifting with no one on board on July 10th, and Crowhurst’s decep­tion was quickly dis­covered and jumped on by the press. Knox-Johnston had received both prizes as the only sailor to com­plete the race, and he donated the cash to Crowhurst’s family.

The film­makers were for­tu­nate for sev­eral reasons. Because the race was such a media circus, lots of archival film and audio record­ings exist, including film and audio Crowhurst made him­self during the voyage. As well, most of the race par­ti­cipants (or their family mem­bers) con­trib­uted inter­views, including Crowhurst’s widow Clare and sev­eral of his chil­dren. Perhaps the most moving of all the inter­views was with his best friend Ron Winspear, who even now is quick to jump to his friend’s defence. After praising his courage for even attempting some­thing so dan­gerous, he tear­fully recalls, “In my mind, I gave him a hero’s burial.” Though the inex­per­i­enced Crowhurst seemed at the begin­ning to be very dif­ferent from the rest of the sailors, by the end, we see that he pos­sessed the same ambi­tion, the same courage, and per­haps most heart­break­ingly, the same determ­in­a­tion not to give up.

I was reminded sev­eral times of another recent doc­u­mentary about brave and single-minded men, a film about the Apollo astro­nauts called In The Shadow of the Moon (review). One of the journ­al­ists inter­viewed actu­ally does com­pare the sailors to the astro­nauts, con­sid­ering that they were news­worthy at the same period in time. Our relent­less hunger for heroes, how­ever, does lead to some cas­u­al­ties, and that in itself makes the film a must-see.

I have only one tiny cri­ti­cism of the film, and that is that the titles/subtitles are in a font that is far too small and dif­fi­cult to read. Since quite a bit of inform­a­tion is con­veyed this way, it detracted just a bit from the experience.

The DVD includes some won­derful spe­cial fea­tures, including extra footage telling the stories of some of the other race com­pet­itors, as well as fuller inter­views with Crowhurst’s family and the journ­al­ists who covered the race itself. As well, there is an inter­active fea­ture allowing the viewer to explore the cabin of Crowhurst’s boat, the Teignmouth Electron.

Buy Deep Water from Amazon.ca

Buy Deep Water from Amazon.com

Trailer
Official Site

9/10(9/10)

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Small Town Gay Bar

Small Town Gay Bar (Director: Malcolm Ingram, USA, 2006): This film was part of the June 2007 release from Ironweed Film Club, and fea­tures two short films as well that I haven’t yet watched. I missed this when it played ori­gin­ally at this year’s Inside Out fest­ival, so was glad to see it on DVD so soon.

While my own exper­i­ence with gay bars has been pretty lim­ited, I under­stand that they serve a vital social func­tion within the com­munity, serving as sanc­tu­aries from a world that is very often hos­tile to gay people. The situ­ation is even more dire in the rural South, where pre­ju­dice has been tol­er­ated and even encour­aged for a long time. This small film keeps its focus tightly on a very spe­cific area, north­eastern Mississippi, and on the pat­rons of a bar called Rumors, loc­ated in tiny Shannon, pop­u­la­tion 1,726. In rural com­munities where everyone knows everyone else, it’s not unusual for gay people to stay “in the closet” and so the bar becomes the only place where they can actu­ally be them­selves. However, since Mississippi is in the middle of the “Bible Belt,” the bars are often tar­getted by con­ser­vative church groups and forced out of busi­ness. Part of the film covers the his­tory of gay bars in this part of the state, and Crossroads, once loc­ated in larger Meridian (pop. 39,000), seemed to be just the sort of place that con­ser­vat­ives would want to close. As one former patron put it, the sense of des­per­a­tion was so strong that it became a sort of circus, a place where “any­thing went” and so local law enforce­ment found a way to close it. Happily, this same former patron bought the prop­erty and reopened it as a much more con­genial place, recog­nizing that people were being forced to drive sev­eral hours to Memphis for lack of a local place to go. I found myself reminded very much of British pub cul­ture while watching the film, where the bar is not only a place to drink and meet romantic part­ners, but a hub of inform­a­tion and a sur­rogate family. Ingram’s film does a great job of cap­turing a sense of place and of the very unique people who pop­u­late it.

Perhaps the only weak­ness I found in the film was in its choice of counter-voices. Reverend Fred Phelps (of GodHatesFags.com fame) was born in Meridian, so I can see why the film­maker wanted to fea­ture him, but giving this nutbag so much screen time was unne­ces­sary. Ingram also inter­viewed Tim Wildmon of the American Family Association, another extreme organ­iz­a­tion with their headquar­ters in nearby Tupelo. While this gen­er­ated lots of sparks, I was rather hoping to hear more from local reg­ular people and even local pas­tors instead of people whom the majority of Americans would view as raving lun­atics. As well, it would have been inter­esting to hear why the pat­rons of Rumors and the other bars haven’t just given up and moved to larger cities where they could live more openly.

As a side note, I was intrigued when I heard so many Toronto bands on the soundtrack (Metric, The Hidden Cameras, Broken Social Scene) and guessed, right­fully, that dir­ector Malcolm Ingram was indeed from Toronto. I’d love to hear what drew him so far from home to tell this story.

Official site for the film

7/10(7/10)

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Men At Work (Kargaran mashghoole karand)

Kargaran mashg­hoole karand (Men At Work) (Director: Mani Haghighi, Iran, 2006): Kargaran mashg­hoole karand (Men At Work) begins with four middle-aged men driving home to catch an important foot­ball match on tele­vi­sion. Three of them are talking and joking around while the other naps. He wakes up and bugs them until they finally pull over and allow him to make a pit-stop on the side of the road on the edge of a canyon. While they are stopped, they dis­cover a tall, narrow rock form­a­tion sticking out of the ground. This film is about their attempts at trying to figure out how it got there, but ulti­mately how to knock it down.

It doesn’t sound like a very intriguing story, but somehow it is. And funny. The situ­ation these men impose upon them­selves can surely be a meta­phor for any kind of obstacle that one may face in life, or it could really just be about how dif­fi­cult it is to dis­lodge a big rock from the earth.

Through altern­ating moments of silence, comedic and almost slap-stick antics, emo­tional out­bursts and acts of des­per­a­tion, we learn of these mens’ rela­tion­ships with women (two of whom con­veni­ently show up, join the chal­lenge for a while, and then leave) and each other, but mainly we see how dif­fer­ently they each deal with this “problem.”

Men At Work (Kargaran mashghoole karand)

I have seen a few Iranian films from the past few years, and most of them are about women and their struggles within their cul­ture. This film, how­ever, may focus on the pos­sibly neg­lected point of view of the men, and per­haps this is why the offensive rock is quite, well, phallic. Is this a com­mentary on the dif­ferent atti­tudes that some Iranian men may have about their male-dominated society? If so, then how does one explain the rel­at­ively passive atti­tudes of the women who show up? (One can make a meta­phor of any­thing, I suppose.)

In the end, after periods of working together and then lit­er­ally giving up and leaving someone behind, the four friends learn that some­times prob­lems can solve themselves.

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Rize

by Jay Kerr on July 9, 2007 · 1 comment

in Documentaries,DVD

Rize

Rize (Director: David LaChapelle, USA, 2005): David LaChapelle is mostly known for his pho­to­graphy and music videos. If you haven’t seen this doc­u­mentary film, then you’re prob­ably not familiar with clowning and krumping, a dan­cing sub­cul­ture in Los Angeles.

The film looks at the dance move­ment known as clowning which was started in south central LA by Tommy The Clown. Tommy took a job dressing up as a clown to enter­tain kids at birthday parties in the hood. He incor­por­ated dance into his show and krumping was born.

In the film Tommy drives around in his green 5.0. Now, how can you not like a guy like that drives a green Mustang, dresses up like a clown and cre­ates an entire dance movement?!

The dan­cing in this film is incred­ible. The music is also great and you’ll want to jump off the sofa and bust a move but don’t. You’ll just look like an idiot.

Do rent this film. It’s extremely enter­taining and you’ll thank me for the recom­mend­a­tion later.

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