Tag: documentaries

Filmmaker Ken Burns turns 70

devastating — and distressingly topical

I’ve been watching films directed or co-directed by Ken Burns, for decades.

In an interview, possibly on 60 Minutes, he noted that his academic family moved frequently, including southeastern France, Delaware, and Ann Arbor, MI.

His mother, Lyla Smith (née Tupper) Burns, a biotechnician, was diagnosed with breast cancer when Ken was three and died when he was 11. He said that circumstances shaped his career. His father-in-law, psychologist Gerald Stechler, shared a significant insight: “He told me that my whole work was an attempt to make people long gone come back alive.”

From the Wikipedia: “In 1977, having completed some documentary short films, he began work on adapting David McCullough’s book The Great Bridge, about the construction of the Brooklyn Bridge.

“Developing a signature style of documentary filmmaking in which he ‘adopted the technique of cutting rapidly from one still picture to another in a fluid, linear fashion [and] then pepped up the visuals with ‘first hand’ narration gleaned from contemporary writings and recited by top stage and screen actors,’ Burns made the feature documentary Brooklyn Bridge (1981), which was narrated by McCullough, and earned an Academy Award nomination for Best Documentary and ran on PBS in the United States.”

The films

I saw Brooklyn Bridge well after the fact, and The Civil War (1990) ss it came out. But it was with Baseball (1994) that I fell in love with his style. Someone gave me the accompanying book, which is at arm’s length in my office.

I had to watch Thomas Jefferson (1997), Jazz (2001), The Central Park Five (2012), The Roosevelts (2012) – I even have the soundtrack),  Jackie Robinson (2016) and The Vietnam War (2017) because of my great personal interest.

Here’s the blog post I wrote about Country Music (2019).

Then Hemingway (2021), because I didn’t know much about him, and Muhammad Ali (2021), because I thought I knew almost everything about him, but I did not. Benjamin Franklin (2022) was not that engaging to me.

The U.S. and the Holocaust (2023), which I’ve begun watching, is an exciting choice. Had he not covered this territory in The Roosevelts and Defying the Nazis? But it is powerful stuff.

THR’s review called it “devastating — and distressingly topical. Burns, Lynn Novick and Sarah Botstein’s six-hour PBS documentary explores what the United States did and could have done in response to the Nazi atrocities of the Holocaust.” Here is A Conversation With Co-Directors Ken Burns and Lynn Novick On Authoritarian Parallels. A CBS Sunday Morning piece is interspersed with info re: wildflowers, but it’s easy to skip to the interview.

Ken Burns considers himself a patriot. When he appeared on Finding Your Roots in 2014,  he was pained to discover that he had a Tory sympathizer as an ancestor who fought for the British during the American Revolution.
In 2015, around the time of the rebroadcast of The Civil War, he noted on Morning Joe that the Confederate flag issue was not really about heritage.

In the fall of 2022, I received a mass email from Ken Burns.

It was a pitch to vote for incumbent Senator Maggie Hassan (D-NH) for reelection. She won in November 2022.

2023 Oscar-nominated shorts

An Ostrich Told Me the World Is Fake

On two days in mid-February, my wife and I saw some of the 2023 Oscar-nominated shorts at the Spectrum Theatre in Albany, NY.  I found some of the films online, which I have linked to.
Live action
Ivalu – DENMARK/16 MINS/2022

Director: Anders Walter, Pipaluk K. Jørgensen

“Ivalu is gone. Her little sister,” Pipaluk, “is desperate to find her. Her father does not care. The vast Greenlandic nature holds secrets. Where is Ivalu?”

While it was a touching bit when Pipaluk would retrace the locales they used to hang out, it was an unsatisfactory conclusion.

Night Ride (Nattrikken)  – NORWAY/15 MINS/2020

Director: Eirik Tveiten

“It is a cold night in December. As Ebba waits for the tram, an unexpected turn of events transforms the ride home into something she was not expecting.”

I liked this piece a lot, possibly my favorite in the category. It was pretty funny, held a degree of danger, and showed real humanity.

More Live Action
Le Pupille ITALY, USA/37 MINS/2022

Director: Alice Rohrwacher

“From… Academy Award® winning producer, Alfonso Cuarón is a tale of innocence, greed, and fantasy. [It] is about desires, pure and selfish, about freedom and devotion, and about the anarchy that is capable of flowering in the minds of girls within the confines of a strict religious boarding school at Christmas.”

As the longest of the pieces, the story is the most complex, taking place in World War II Italy.  It is or was on Disney+. I enjoyed it.

The Red Suitcase -LUXEMBOURG/18 MINS/2022

Director: Cyrus Neshvad

“A young Iranian woman at a Luxembourg airport is in a life-changing situation.”

While totally believable, it was most frustrating because we wanted to know what happened next.

An Irish Goodbye – IRELAND/23 MINS/2022

Director: Tom Berkeley, Ross White

“On a farm in rural Northern Ireland, estranged brothers Turlough and Lorcan are forced to reunite following the untimely death of their mother.”

My wife’s favorite, and for a good reason, even though we couldn’t suss out bits of the dialogue. The family tension rang true. It won the BAFTA in this category.

Animated

An Ostrich Told Me the World Is Fake and I Think I Believe It -AUSTRALIA/11 MINS/2022

Director: Lachlan Pendragon

“When a young telemarketer is confronted by a mysterious talking ostrich, he learns that the universe is stop-motion animation. He must put aside his dwindling toaster sales and focus on convincing his colleagues of his terrifying discovery.”

This had a Truman Show/end of a Lego Movie vibe. BTW, the ostrich may be correct. I liked it a lot.

The Flying Sailor – CANADA/7 MINS/2022

Director: Amanda Forbis, Wendy Tilby

“In 1917, two ships collided in the Halifax Harbour, causing the largest accidental explosion in history. Among the tragic stories of the disaster is the remarkable account of a sailor who, blown skyward from the docks, flew a distance of two kilometres before landing uphill, naked and unharmed. The Flying Sailor is a contemplation of his journey.”

I wish I had known the above before I watched it for the first time. NOW it makes more sense.

More animation
Ice Merchants – PORTUGAL, UNITED KINGDOM, FRANCE/14 MINS/2022

Director:  João Gonzalez

“Every day, a father and his son jump with a parachute from their vertiginous cold house, attached to a cliff, to go to the village on the ground, far away where they sell the ice they produce daily.”

The comments helped me understand this better than I did on first watching.

The Boy, the Mole, the Fox and the Horse -UK/34 MINS/2022

Director: Peter Baynton, Charlie Mackesy

It “is a story of kindness, courage, and hope in traditional hand-drawn animation, following the unlikely friendship of the title characters as they journey in search of the boy’s home. Based on the book of the same name.”

I liked the traditional artwork. It’s strange, though; I can believe the talking animals, yet we both had trouble figuring out where the boy came from. How did he not freeze to death? I think this is streaming on Apple+.

Animation with a warning

My Year of Dicks -USA/25 MINS/2022

Director: Sara Gunnarsdóttir // Writer: Pamela Ribon

“An imaginative fifteen-year-old is stubbornly determined to lose her virginity despite the pathetic pickings in the outskirts of Houston in the early 90s. Created by Pamela Ribon from her critically-acclaimed memoir.”

Before it aired in the theater, there was a warning that the content may not be suitable for some. The last time I saw that message, it was some grossly bloody and inartful six minutes.

This was fun in five chapters, the first of which is here. My favorite part, though, was Chapter 5, when the protagonist asks her mom a personal question, and the mom makes the dad explain sex to the daughter. I found it extremely funny.

Documentaries

I didn’t see the docs in the theater, but I did view two on YouTube.

THE ELEPHANT WHISPERERS – Kartiki Gonsalves and Guneet Monga

HAULOUT– Evgenia Arbugaeva and Maxim Arbugaev
Ninety thousand walruses outside your door is a sure sign that the planet’s ecosystem is out of whack.
HOW DO YOU MEASURE A YEAR? –Jay Rosenblatt
THE MARTHA MITCHELL EFFECT – Anne Alvergue and Beth Levison
STRANGER AT THE GATE – Joshua Seftel and Conall Jones
I saw a brief piece about a “Veteran’s Return from the Brink of Terrorism” on CBS Sunday Morning. I found this to be a powerful telling of how hate can be turned around. A review of all of the short documentaries states this film “reads a little too optimistic for the current moment.” I have no idea what that means.

Documentary review: Ascension

Jessica Kingdon

I recently watched, on Paramount Plus, the documentary Ascension. The film shows that the people of China are also seeking their version of the American Dream.

Some of the workforce is enticed by factory jobs that may involve no standing, though other jobs require being upright. Lots of propaganda about being team players are sometimes administered harshly. The factory workers include women working on the exacting standards for sex dolls; make sure the color of the areola is right.

We see people training to serve the wealthy in their increasingly capitalistic country. Perhaps they would be servants in fancy homes that require fine dining; Downton Abbey was specifically namechecked. Or maybe they’ll become bodyguards, protecting their would-be employers from assassins.

There are lessons on how to smile, how to be positive that you’ll make lots of money. They too can become influencers. For good and for ill, today’s China is looking a lot like the United States.

Before I saw the film, I watched director Jessica Kingdon interviewed on The Daily Show with Trevor Noah. He noted that there was no narration by someone trying to steer a particular point of view, which allowed the viewer to see the larger cultural shift.

Ascension is Oscar-nominated as one of the best documentary films of the past year. It’s a little slow in the beginning, but it proves to be a fascinating take on the economic rise of China.

Lynching Postcards

After I watched Ascension, Paramount Plus directed me to a short documentary Lynching Postcards: ‘Token of A Great Day’. Perhaps more unsettling than the lynchings of over 4,000 African Americans by white mobs were the public, festive occasions these murders became. Men, women, and children out having a picnic while watching a hanging and/or burning. The burnings were particularly popular in Texas.

These lynchings were commemorated through souvenir postcards. And people would send messages pointing themselves out in the crowd. ‘Hey, that’s me, third from the right” with the corpse hanging in the background.

One of the images from the film that caught my attention was The Dogwood Tree, a poem that begins
This is only the branch of a Dogwood tree;
An emblem of WHITE SUPREMACY.

The film is only about 15 minutes. Worthwhile.

MOVIE REVIEW: Ballin’ in the Graveyard

While the term “the graveyard” was meant to define a “do or die” level of play, that section of Washington Park indeed was a cemetery.

 

I took off from work early one day last month, and the Wife and I saw the documentary Ballin’ in the Graveyard at the Spectrum Theatre in Albany. Early on, the participants explained that some of them have played street basketball in various tough neighborhoods in New York City and around the country, yet no game is as intense as the ballin’ in Albany’s Washington Park, less than a dozen blocks from the theater, BTW. These are in-your-face players who do trash-talk to gain an advantage and occasionally will make a bogus call to even up the score.

But the film is only partially about sport. Their success on the court is shown in relationship with meeting the challenges of everyday life. Their court swagger belied the often tranquil demeanor at other times.

While the term “the graveyard” was meant to define a “do or die” level of play, that section of Washington Park indeed was a cemetery, with sections for the city’s black and “stranger” population until 1868, when those bodies were exhumed and reburied. mostly in Albany Rural Cemetery.

The documentary was produced and directed by Paul Kentoffio and Basil Anastassiou, the latter a longtime player, and co-produced by Spectrum owner Keith Pickard.

My wife liked it more as it moved away from basketball and more into their private lives, noting that it was both local and universal. But she also appreciated the notion of the culture and tradition passed down to the next generation. I liked it all.

The movie trailer.

A review by Amy Biancolli

Slavery by Another Name PBS documentary

When you create a class of “the other”, not just racially, but as “the criminal”, even if it were based on a vague, trumped-up charge of vagrancy, it made it easier to think of people as less than human.

My wife and I got a babysitter last Friday night so we could take the bus – MUCH easier than trying to find parking at the uptown UAlbany campus – and watch Slavery by Another Name, “a 90-minute documentary that challenges one of Americans’ most cherished assumptions: the belief that slavery in this country ended with the Emancipation Proclamation.” Though the film will be premiering on PBS, Monday, February 13 at 9pm ET / 8pm CT (check local listings), the real draw of viewing it early on a bigger screen was to be able to see the director of the film, Shelia Curran Bernard, and the writer of the book upon which the film was based, Douglas Blackmon, who I had seen before.

Narrated by actor Laurence Fishburne, “The film tells how even as chattel slavery came to an end in the South in 1865, thousands of African Americans were pulled back into forced labor with shocking force and brutality.

It was a system in which men, often guilty of no crime at all, were arrested, compelled to work without pay, repeatedly bought and sold, and coerced to do the bidding of masters. Tolerated by both the North and South, forced labor lasted well into the 20th century.” The movie notes the failure of the federal government, both after Reconstruction, and again in the early 20th century under Teddy Roosevelt, to stem the tide of forced labor.

As both the SBAN book and the movie made clear, the peonage system was, in many ways, far worse than the slavery before the Civil War. If one had slaves, one needed to protect one’s economic investment by providing some measure of food, clothing, and shelter. If one were a business, such as US Steel, leasing convicts, one could work someone nearly to death, or sometimes fatally, and then go lease someone else.

The speakers had no prepared comments but were just doing a question and answer period. Anyone who’s seen a Q&A knows that the quality of questions is all over the place. One person wanted to know why we never heard these stories before. Blackmon noted that the further away we are from it in history, the easier it is to look at it. In any case, there will be classroom material available to talk about this previously unknown, shameful part of the American postbellum past.

A question that intrigued me was, basically, how people could be so cruel to each other. The speakers noted that when you create a class of “the other”, not just racially, but as “the criminal”, even if it were based on a vague, trumped-up charge of vagrancy, it made it easier to think of people as less than human. This tied to another question about the new Jim Crow laws, which continue to incarcerate black people in disproportionate numbers; the speakers referred to Michelle Alexander’s book and other sources for further reference.

I must admit to laughing at a recent comment from the blog of SamuraiFrog “It’s Black History Month. So if you’re one of those complete idiots going on Facebook and whining about how having a Black History Month is racism against white people, please pick up a history book. And hit yourself in the head with it. Repeatedly. Until you black out.” The fact that THIS story has largely been missing from the history books makes the continued investigation of the lost black history, a/k/a American history, still relevant.

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