Music by John Williams (2024)

View fullsize

Music by John Williams is a documentary celebration of the famous composer and his illustrious body of work. It provides some interesting biographical background information as to how the man was born into a family of talented musicians. It then traces his rise from pianist for hire to the most well known film composer today. Along the way, anyone who is anyone in film and music appears to heap justifiable praise upon him and his body of work. It also features a continuous medley of John Williams’ greatest hits, as it catalogues his work in broadly chronological order. Music by John Williams is an upbeat and positive love letter to the composer and exactly what you would expect, when you consider that the documentary was produced by his friends and peers. 

“How does he do it”? This is a question that is continuously raised throughout the documentary’s 105 minute running time, by the various talking heads such as  J.J. Abrams, Chris Columbus and Seth McFarlane. Naturally, this is a perfectly logical question considering the composer’s ability to continuously write outstanding music for film after film. However, it becomes clear after a while that this particular documentary doesn’t really intend to answer this question, preferring to simply reflect on the composer’s work and frame his skills in enigmatic terms. It is a perfectly valid approach and ensures that Music by John Williams remains very accessible to viewers who may well have no background in musical theory. But it is a little disappointing to those who have a genuine interest in Mr Williams technical skills.

View fullsize

We are briefly given a rare insight as to John Williams thought processes, when he discusses his famous five note motif for Close Encounters of the Third Kind. He draws a grammatical analogy stating that the five note motif is akin to a conjunctive sentence and that it ends in a questioning fashion. The motif raises an expectation with the fifth degree of the scale. Contextually, it is a “but”, rather than a definitive statement. Within the parameters of the film, that is an important point and taps into the themes of the story with its cosmic questions. I would have liked to have seen far more examples of Mr Williams’ reasoning because it shows that he doesn’t just write from the heart but there is a great deal of technical literacy at work as well. It adds an additional cerebral dimension to his music as well as its inherent emotional content.

There is still much to recommend Music by John Williams. Director Laurent Bouzereau asks pertinent questions in a casual and disarming way. Steven Spielberg’s home movies are an invaluable source of information and insight as he has recorded numerous studio sessions of Mr Williams’ conducting the score for his films. The documentary also does a good job of highlighting John Williams’ work for the Boston Pops and how he did much to bring orchestral music to a wider audience. There was a surprising amount of snobbery and pushback to this in the mid eighties. However, if you are seeking the rigour and scrutiny of Ennio, Giuseppe Tornatore’s sprawling documentary about Ennio Morricone, you won’t find it. Music by John Williams is not intended to be such an exploration, preferring to be an ode to the composer and a much deserved veneration.

Prohibition (2011)

View fullsize

Despite being an analysis of the past there is a portentous air about Ken Burns and Lynn Novick’s Prohibition. A fascinating five-and-a-half-hour documentary produced for PBS in 2011. The history of this disastrous experiment, the banning of alcoholic beverages, is a textbook example of how the transactional nature of US politics can be effectively used upon “wedge” issues. Prohibition follows the format and style of Burns previous documentaries such as the Civil War (1990) and The War (2007) with the wider subject broken down and analysed according to protagonists, events and the political background. Specific historical figures and key players are followed throughout the documentary’s narrative, giving viewers a sense of focus. Hence we meet the hatchet-wielding Carrie Nation, Wayne Wheeler from the Anti-Saloon League and media savvy gangsters like Al Capone. It is interesting to note that some themes continue from Burns’ previous work, such as the political and cultural conflict between native-born Americans and European immigrants. The rural heartlands versus the big cities.

The first episode, “A Nation of Drunkards,” explores the growth of the temperance movement in preindustrial America as a pushback against alcoholism and specifically, “the saloon” as a source of public drunkenness, domestic abuse and poverty. Americans were a nation of drinkers right from the start. Mainly because brewing was the primary means of making water drinkable. However, an influx of European immigrants to the major cities introduced new drinking customs that fueled the problem. Hence many brewers and distillers were established to meet demand. The temperance movement grew in power and managed to restrict alcohol sales in Maine in 1851. Yet the alcohol lobby was slow to react to this existential threat, assuming that the tax revenue raised on alcohol negated any attempt of a national prohibition. However,the ratification of the 16th Amendment and the introduction of income tax in 1913 paved the way for a political push for a nationwide ban. In 1919 the 18th Amendment prohibiting the manufacture, sale or importing of alcohol was ratified. 

View fullsize

The second part of Prohibition, is “A Nation of Scofflaws” (the origin of this and many other words is a fascinating aspect of the series). Legal scholar, Noah Feldman, succinctly observes “To pass a law, in the real world, means nothing. To enforce the law means everything.” To enforce the new constitutional amendment, the administration created the Volstead Act but it was vague and underfinanced, with an inadequate number of law enforcement officials tasked with stopping the drinking habits of millions of Americans. It is here that Mr. Burns and Ms. Novick, play their hand well. The criminal opportunities that arose from prohibition were staggering. Rather than overwhelm viewers with a tsunami of data, they elect to focus on a handful of well known bootleggers to make their point. The scenes of violence stemming from organised crime are well known but the deaths and illnesses caused by unregulated and potentially poisonous alcohol are not so well publicised.

The utter failure of the 18th Amendment is addressed in the final instalment, “A Nation of Hypocrites”. It documents the run up to its repeal in 1933. Again a perfect storm of events set the political chess board in such a fashion that repeal was not only possible but politically expedient. The great depression and subsequent economic fallout required the tax revenue that alcohol brought. Plus, there was an increasing concern that a nation of willing law breakers was detrimental to democracy. So an additional amendment was made to negate the effects of the 18th. It was expected to be a long and drawn out process but self-correction was remarkably quick in governmental terms. Historian Catherine Gilbert Murdock muses upon how a political lobbying success ultimately failed due to its own intransigence. “The dry movement in the late 1920s had an opportunity to capitalise on its success and modify the most egregious issues within the Volstead Act and the enforcement of prohibition, but refused to. In their extremism, they eliminated all moderate support.” Perhaps if the excesses of prohibition had been mollified, the act would have lasted much longer.

View fullsize

As ever with Ken Burns’ documentaries, the historians and experts that provide insight and analysis are complemented by a broad selection of quotes from correspondence and period texts, by all the major parties. Peter Coyote narrates in a focused and engaging fashion. Prohibition also features the voice talents of  John Lithgow, Sam Waterston and Samuel L. Jackson. What Prohibition does successfully is make its point without bludgeoning the viewer with the obvious lessons for those who currently seek to legislate personal and moral behaviour. Burns and Novick let the story of the 18th Amendment speak for itself. The message is not that laws based on restricting rights of citizens, as opposed to protecting them, are ultimately destined to fail. It’s that social engineering of this nature can result in far more problematic consequences. Prohibition is fascinating viewing and extremely relatable, due to the ubiquity of drinking in so many cultures.

Dear Mr. Watterson (2013)

View fullsize

Joel Allen Schroeder's documentary Dear Mr. Watterson is a curious beast insofar that it takes some time before it decides exactly what it wants to focus upon. It begins by examining the cultural impact of the hugely popular comic strip “Calvin & Hobbes” and what it means to people around the world. However, little information is given about the creator, Bill Watterson beyond a very simple biography. Joel Allen Schroeder’s also makes no attempt to contact and interview the reclusive Mr. Watterson to find out more about the man and his iconic work. Instead, the documentary eventually settles into an assessment of Watterson’s work by other industry luminaries and a broader accounting of the overall decline of the newspaper cartoon as a social institution. The presentation is bright, stylish and there’s a lot of love for the subject but it takes some time before it commits to a specific approach.

Cartoonist Bill Watterson retired his comic strip “Calvin & Hobbes”, after a very successful ten year run from 1985 to 1995. The cartoon about a 6-year-old boy and his tiger companion, had and continues to have much to say about American culture, childhood, friendship and many other philosophical points. Although demonstrably a US product, its themes and characters had a worldwide appeal due to its universal themes. Furthermore, Watterson was extremely experimental in the way he presented his artwork, often abandoning the traditional linear panel format. What the documentary makes clear is that both Watterson and subsequently his cartoonist peers consider his creations “art”. The notion that the cartoon strip is an inherently lower form of artistic endeavour, is summarily dismissed as part of the inherent snobbery that exists around art per se. Watterson’s perspective on his own work is a key theme throughout the documentary.

View fullsize

Post 1995, Bill Watterson has led a reclusive life in small-town Ohio, where he has pursued other artistic endeavours. Although financially successful due to the ongoing syndication of “Calvin & Hobbes”, along with the continuous sales of anthologies of the cartoon, Watterson is notable as one of the few artists that has eschewed lucrative merchandising deals. Unlike most of his contemporaries such as Charles M. Schulz (“Peanuts”) and Jim Davis (“Garfield”). Dear Mr. Watterson takes a lot of pain to examine such an unusual stance, with one talking head hinting that it is borderline “unamerican” to do such a thing. Yet Watterson saw such monetisation as diminishing the artistic merits and significance of his creation. Something that  Stephan Pastis, creator of “Pearls Before Swine” broadly agrees with, citing from personal experience that the moment you embrace marketing you are subject to a wealth of commercial pressures that impact upon your creativity.

View fullsize

Dear Mr. Watterson ultimately fall between two stools as it is a little too insular to be immediately accessible to those casually interested in “Calvin & Hobbes”, while simultaneously not being a definitive overview for hardcore fans. It does have its moments. One certainly gets a sense of Bill Watterson’s talent when looking at his original artwork at The Ohio State University. The documentary also does a good job of analysing the final cartoon he created which ends with the positive statement “Let’s go exploring”. It also accurately assesses the diminishing of comic strips in newspapers due to the industry's own decline. The conclusion is that it's highly unlikely that any other strip will achieve similar success and have such a cultural impact. “Calvin & Hobbes” remains an enigma born of great talent and the good fortune to be in the right place at the right time. 

Kurt Vonnegut: Unstuck in Time (2021)

View fullsize

“Kurt Vonnegut: Unstuck in Time” is a sprawling, non-linear eulogy to the to the life of writer Kurt Vonnegut, by Emmy-winning director Robert B. Weide (“Curb Your Enthusiasm”), who was a friend of Vonnegut's throughout the last 25 years of his life. Weide himself features heavily throughout the two hour running time, which is something Weide says he usually hates in documentaries. However, what unfolds is a story of a documentary maker who wanted to film his idol and was granted an opportunity to do so in the early eighties. The project was never completed and both Weide and Vonnegut continuously returned to it over the years as their friendship grew, leading to Weide eventually becoming Vonnegut’s personal archivist. However, despite this curious relationship, this is still very much a film about Kurt Vonnegut, the author, the social commentator and the man. It becomes quite clear why he is considered one of the most important writers of the 20th century. 

“Kurt Vonnegut: Unstuck in Time” is structured very much like Vonnegut's writing; deliberately fragmented and very self-aware. At times it takes a chronological approach and at others, leaps forward to future events and highlights this by showing Weide editing the very documentary on his computer. We do get to learn about Vonnegut’s youth, family and other key aspects of his life as the documentary lapses into a classic PBS approach to its subject. It takes a while to get to the matter of his experiences in Dresden in World War II and despite his irreverent tone, it is clear that this part of his life is key to his mindset and philosophy in later life, as well as his emotional well being. All of which paints a very interesting and broadly favourable portrait of the man. Which makes it all the more jarring when he leaves his wife shortly after achieving the success in which her support is instrumental.

View fullsize

Where “Kurt Vonnegut: Unstuck in Time” excels is in examining the wealth of material regarding Vonnegut’s writing. We see first draft, typewritten manuscripts complete with handwritten revisions that clearly show the author refining his style and process during his early years. Correspondence and then later, answerphone messages provide further insight to the author’s struggle to commit his work to the page and the birth of his alter ego, Kilgore Trout. As the documentary progresses, over time Vonnegut becomes very comfortable talking about himself to Weide. He clearly shows he is someone who relishes his relationship with his audience and the opportunity to “perform”. There is some compelling footage of talks and lectures in which Vonnegut effortlessly engages with fans and riffs off their questions and adulation. Not every author requires the love of his readers but it clearly was integral to Vonnegut’s pathology.

View fullsize

Overall, any gaps in the history of Kurt Vonnegut or self-indulgent asides are subordinate to this documentary’s sincere and honest analysis of Vonnegut's World War II experiences. His initial denial of the significance of his time as a P.O.W. is ultimately overturned after writing “Slaughterhouse Five” and the documentary takes great pains to stress the cathartic nature of this undertaking. His disgust of war subsequently boiled over again during the second Bush administration and the subsequent invasion of Iraq. Vonnegut despised the use of patriotism as a political tool and subsequently wrote a series of opinion pieces for “In These Times” magazine which became the foundation for his final major work “A Man Without a Country”. Robert B. Weide’s ““Kurt Vonnegut: Unstuck in Time”” is a loving tribute to a dear friend as well as an analysis of a cultural icon. It’s important to appreciate the former while addressing the latter. There may well be future documentaries about Vonnegut that are more objective but they’ll not be as personal as this one.

Benjamin Franklin (2022)

View fullsize

Benjamin Franklin is in many ways the most interesting of the American Founding Fathers. A self taught man who went on to become a polymath. An inventor, accomplished writer and publisher. A diplomat who successfully held multiple public offices. A loyalist who went on to become a “reluctant revolutionary”. A slave owner who eventually became an abolitionist. A questionable parent who favoured specific children over others, as well as a negligent husband. Franklin was all these things, as Ken Burns’ documentary takes great pains to highlight. A broad cross section of historians tackle these foibles and contradictions from multiple perspectives. As Joseph J. Ellis states, Benjamin Franklin was “a Nobel-calibre scientist, the greatest prose stylist of his generation, and probably the greatest diplomat in American history”. His legacy is chronologically analysed over four hours in two distinct episodes.

The first episode explores Benjamin Franklin's early life, covering his education or lack thereof, his talent for printing, his thirst for knowledge and personal improvement as well as his personal life. As he rises socially and becomes a man of the people in local politics, he is defined by drive for continuous civic improvement. The second episode explores his time in London and Europe and how events revealed the British Monarchy’s true perception of America’s place within its Empire. Burns and writer Dayton Duncan explore Franklin’s deeds in detail trying to separate measured and reliable facts, from reputation, myth and propaganda from his political enemies. Although a towering intellect, Franklin remains accessible and quite human. The breakdown in his relationship with his son William, the last governor of New Jersey, is quite sad due to him being on the opposite side of the political divide. Franklin also seems remorseful in later life for his failures as a husband.

View fullsize

Ken Burns continues to produce multiple documentaries, tackling key aspects of American history and culture, such as the Vietnam War, as well as iconic individuals like Ernest Hemmingway. Yet Benjamin Franklin is stylistically closer to his earlier work such as The Civil War, focusing on source text material and contemporary historical analysis due to the subject matter being outside of our 20th and 21st century experience. The production values are straightforward with historians, biographers and academics providing talking heads. Graphics, period artwork and music replace video footage and film archive material. As ever, a  great deal of thought has gone into the voiceovers. Peter Coyote again provides dignified narration, while Franklin’s own words are brought to life by the charismatic Mandy Patinkin. By avoiding historical reenactments and favouring a lower key approach, Burns allows the audience to know and understand Franklin through his words and deeds.

View fullsize

What Ken Burns excels at is presenting history in such a way as to make it relevant to the  present. Parallels are offered to the current status quo and it is up to the audience to determine if they hold water. Burns does not avoid unpleasant truths and is not averse to tackling problematic aspects of a person who is considered by some a sacred cow. The issues of slavery is addressed as well as Franklins views on race. Both are presented in an appropriate context. Benjamin Franklin is a worthy exploration of the man and the four hour running time, conveniently divided into two parts works extremely well. As a British citizen I was especially struck by the duality of the man who at first saw himself a staunch loyalist only to become an ardent seperatist. I also admire the fact that much of Franklin’s most famous achievements were undertaken in the last fifteen years of his life. He was building a nation with men half his age.

Ennio (2021)

View fullsize

Giuseppe Tornatore’s sprawling documentary Ennio, is a finely detailed and absorbing exploration of prolific and iconic Italian composer Ennio Morricone. Despite its very traditional approach to its subject matter, looking at Morricone’s career chronologically, intercut with celebrity talking heads, it still manages to convey the unorthodox, innovative and experimental nature of the composer. The 156 minute running time is not necessarily the impediment that one expects. Rather it is the sheer weight of the emotional impact that comes from Morricone’s music that is at times overwhelming. Archival footage and a new and comprehensive interview recorded just prior to the composer’s death in 2020 is intercut with a wealth of audio cues and concert footage from a broad cross section of his work. The result is most illuminating with regard to the man and his approach to composing. The conclusion backed by many of those interviewed is that Ennio Morricone has shaped the nature of film music and elevated it to an artform.

Morricone’s personal recollections of his youth and of his family’s poverty are candid. His Father, a trumpet player of some note, insisted his son learn music as a means to “put food on the table”. Morricone’s skill took him to the Saint Cecilia Conservatory to take trumpet lessons under the guidance of Umberto Semproni. He then went on to study composition, and choral music under the direction of Goffredo Petrassi. However, despite this very formal music education, Morricone took an innovative approach to his arrangements and would often use unorthodox sounds to add character to his work. During his tenure at RCA Victor as senior studio arranger, his contemporary approach found him working with such artists as Renato Rascel, Rita Pavone and Mario Lanza. As his reputation subsequently grew, composing for film became a logical and practical career progression. However, this was something that was looked down on by his more formal colleagues. A view that changed overtime as the calibre of his work became undeniable.

View fullsize

Ennio features a wealth of soundbites from prior interviews and new ones, from old friends, fellow musicians and  admirers. Some are profound, some gush and others are curious by sheer dint of their inclusion. The views of Bruce Springsteen are somewhat hyperbolic and Paul Simonon makes a single obvious statement. However the insight we gain from classical composer Boris Porena is extremely thoughtful and interesting. As are the views of Hans Zimmer and Mychael Danna. There are also numerous personal anecdotes from assorted collaborators, including Joan Baez, Paolo and Vittorio Taviani as well as Roland Joffé. Baez recalls how Morricone intuitively wrote for her entire vocal range. The Taviani brothers reflected upon how they were at odds with the maestro only to be totally won over by work. Joffé reflects how Morricone wept when he saw The Mission, stating it didn’t need a score. Often it is Morricone’s own recollections that are the most intriguing. For someone of such exceptional talent he remains grounded, sincere and protective of his craft.

View fullsize

Director Giuseppe Tornatore naturally focuses on his own collaborations with Morricone, especially Cinema Paradiso, but overall Ennio is about the man, his philosophy and his joy of music. Some critics have inferred that this documentary is too Italian-centric but that is a crass complaint. Sixty years of Italian culture, both artistically and politically, are reflected in Morricone’s work. Hence there is significance in the reminiscences of Italian pop stars contracted to RCA who owe their success to Morricone’s innovative arrangements and production values. Ennio also features several anecdotes that are surprising and revealing, such as how the maestro missed an opportunity to write the soundtrack for Stanley Kubrick’s A Clockwork Orange. Long and at times a little overwhelming, Ennio is a fitting tribute to the great composer. It is also a testament to the skills of editor Massimo Quaglia for cogently assembling such a vast amount of information and sentiment into a coherent narrative.

Gerry Anderson: A Life Uncharted (2022)

View fullsize

Gerry Anderson: A Life Uncharted is a documentary that focuses specifically on the man, rather than the shows that he created. If you are more interested in the latter then you would be better off watching Filmed in Supermarionation (2014), which provides a comprehensive overview of all productions, wrapped in a cosy blanket of nostalgia and fandom. Gerry Anderson: A Life Uncharted offers a more challenging viewing experience due to its honesty and candour. Gerry Anderson had a difficult childhood and suffered a bereavement early in life. During the course of this 88 minute exploration of his life it becomes clear that these traumas both drove his creativity as well as marred his own personal life. Furthermore, this documentary is also about a son looking for answers, as Jamie Anderson attempts to learn more about his father’s past.

Gerry Anderson was born Gerald Alexander Abrahams in 1929. His secular Mother Deborah was frequently at odds with her Jewish husband Joseph and hence Gerry’s most formative years were blighted by the acrimonious and dysfunctional marriage of his parents. He was also subject to antisemitic abuse during his early school days which eventually led to his mother changing his surname by deed poll. Gerry idolised his older brother Lionel and always felt in his shadow. When Lionel died in a plane crash during World war II, Gerry was devastated. Needless to say these emotional issues both motivated and plagued him throughout his life. Gerry strove to escape the poverty of his youth and be successful. His scripts often featured strong father figures and absent mothers. His workaholic nature meant he often became estranged from his own family. He also struggled to maintain friendships beyond business.

View fullsize

Gerry Anderson: A Life Uncharted offers a broad spectrum of views and opinions. There is both old and new archive footage of Gerry talking quite candidly about his relationship with his parents, his failings as a parent and the deterioration of his marriage to Sylvia. It doesn’t always make for comfortable viewing but it is very credible and human. Contrary views are also aired from those who worked with him such as Roberta Leigh and three of his four children contribute in an equally candid fashion. From Gerry’s perspective, despite all his hard work he never seemed to reconcile himself to his success. He also felt that Sylvia over-stated her contribution to the success of AP Films and Century 21 and it is clear that he felt taken advantage of. Despite becoming successful and then subsequently losing it all, he eventually found happiness and stability with his third marriage to Mary Robbins.

A key part of Gerry Anderson: A Life Uncharted is its focus on Gerry’s struggle with dementia during the last few years of his life. It is a very personal account recounted from the perspective of son Jamie and mother and wife Mary. It will resonate with anyone who has first hand experience of a loved one succumbing to this condition and many of the anecdotes recounted will have a familiar ring to them. Yet despite the difficulty of dealing with such a debilitating illness, it is fascinating how Gerry managed to use his fame to raise public awareness, as well as £1 million for the Alzheimer's Society in a year. Tragically, when he finally passed away on Boxing Day 2012, Gerry had no memory of his life work or its popularity.

View fullsize

Gerry Anderson: A Life Uncharted takes a gamble by using deep fake technology in order to bring Gerry Anderson back to the screen, thus making the audio interviews more accessible. What viewers are presented with are a series of black and white scenes of Gerry sitting on a sofa talking to an interviewer off camera. The documentary clearly states its use before it begins and its inclusion does not in any way invalidate the authenticity or relevance of the actual audio interviews. Overall, if you wish to understand what drove Gerry Anderson to be so creative and successful, then Gerry Anderson: A Life Uncharted offers some insight. It also clearly shows the human cost as well. Fans who idolise their heroes may be uncomfortable with Gerry’s open admission of his own personal failings. Those with a capacity to separate their feelings of fandom from their curiosity will be rewarded with an engaging and somewhat melancholic documentary. Just bear in mind that some facts presented remain disputed and that this is documentary is weighted towards Gerry Anderson’s perspective.

The Center Seat: 55 years of Star Trek

View fullsize

Star Trek documentaries are very much like Bruce Lee documentaries, in so far as they’re both a saturated market and more often than not, new content frequently ends up covering the same ground. However, fans tend to watch anything new in the hope that they will find a few new nuggets of information. Brian Volk-Weiss’ new 11 part series, The Center Seat: 55 years of Star Trek, not only covers established facts about the iconic show but also expands upon them as well as providing a wealth of new information. Volk-Weiss has previously explored popular culture with documentaries such as The Toys That Made Us and The Movies That Made Us. The Center Seat: 55 years of Star Trek is an in-depth chronological study of the Star Trek franchise, from its creation at Desilu Productions in 1965 all the way through to the latest iterations, Star Trek: Picard and Star Trek: Discovery. 

Part of what makes The Center Seat so enjoyable is that the 11 episodes, each running just under an hour, provides adequate time to explore the production history of each show and the various movies. The often overlooked Star Trek: The Animated Series gets an entire episode to itself as do each of the shows from the Rick Berman-era. The analysis of Star Trek: The Motion Picture is especially rigorous and does not shy away from the clash of egos between cast members, as well as  the problematic writing process as Gene Roddenberry and Harold Livingston fought over the script. The show also takes the time to discuss the decision to have a title song, rather than a theme for Enterprise and the fact that to date, it still polarises opinion. Perhaps the most significant episode of The Center Seat is the first, which focuses on the importance of Lucille Ball. She used her industry leverage and wealth to get Star Trek made, backing not one but two pilot shows. 

View fullsize

However, despite having 11 episodes at their disposal, there is still a lot of content missing from The Center Seat. There is a conspicuous lack of contemporary interviews with William Shatner, Avery Brooks and Scott Bakula. Although there is a lot of footage from all things Star Trek, the licensing arrangements seems to exclude music by any of the composers associated with the shows. It strikes me as remiss to have a documentary about such an iconic show and not mention Alexander Courage’s theme or the subsequent work by Jerry Goldsmith and James Horner. There is also some controversy over the inclusion of at least one Star Trek writer/historian whose accounts of events have been called into question for factual inaccuracies. The show also seems to be selective about which controversies it explores as well as which actors personal problems it focuses upon.

View fullsize

The Center Seat is an entertaining and fairly comprehensive exploration of the Star Trek franchise. This documentary series will probably best suit new fans or those who are not overly familiar with the associated history of the various shows. That being the case then it offers a broad overview and clearly shows that success and popularity is far from a smooth ride. Those who are well versed in the franchise's legendarium will probably be familiar with half or more of the show content. I found a lot of crossover between material in this show and the extras I’ve watched over the years on various DVDs I’ve owned. It is also worth noting that there are two versions of The Center Seat. One is obviously re-edited for syndication, consisting of 10 x 42 minute episodes. This version was shown on The History Channel. Then there is a longer 11 x 58 minute version. I watched the latter and this is the one that I recommend.

Shatner in Space (2021)

View fullsize

Shatner in Space is a 45 minute documentary about the 90 year old actor, William Shatner and his recent foray into space via Jeff Bezos’ Blue Origin sub-orbital spaceflight service. Considering the provenance of this entire undertaking, attitudes in general towards billionaires and the obvious publicity seeking hubris of sending a cultural icon into space, it’s easy to dismiss Shatner in Space as nothing more than a very, very expensive infomercial. However, the quiet dignity of Mr Shatner whose age and experience means that he draws a very different conclusion from his space flight than his fellow passengers, is utterly compelling and possibly a little profound. If you can endure the soulless polish of the scenes with an immaculately staged managed Jeff Bezos, then you’ll be rewarded with the philosophical musings of a man approaching the end of his life who is naturally curious about his own mortality.

View fullsize

When you consider William Shatner’s personal arc as a pop culture icon, he has matured from a young successful actor and has journeyed through the pressures of fame and success. He has gone from being reviled by his colleagues to setting aside the past and being reunited with them. He is now a venerable figure who is wiser for their life experience who wishes to do some good with the time he has left. It is therefore fascinating to see his reaction when he walks into the Blue Origin headquarters and realises that pretty much all of the staff that work there share a common dream of space travel due to the influence that he and Star Trek had upon their lives. It is clear that he recognises this and it’s moving to see his reaction. There’s no hint of ego. Just a quiet awe and a hint of pride. It is also a clear demonstration of the immense power of fame and celebrity.

View fullsize

Shatner in Space finds it stride towards the end of it’s relatively short running time, when we see selected footage of the 4 passengers in the capsule during launch and New Shepard’s journey to the Kármán line. During the brief period of weightlessness, the other passengers are immediately enamoured with the strangeness of the sensation. They naturally laugh and caper. 90 year old Shatner pulls himself to the window and stares into the black void of space and then down at the intense blue of the earth. He quietly states “That’s it. I’ve got it”. His personal epiphany is moving and dare I say, beautiful. He is visibly moved upon his return and where the others are vocally elated, his quiet introspection as he processes what has happened is again captivating. When he finally masters his feeling his first thoughts are that everyone should have such an experience as it affords an important perspective. Despite the corporate nature of this documentary, it has a wonderful streak of humanity, thanks to William Shatner.

JFK Revisited: Through the Looking Glass (2021)

View fullsize

I am not a fan of conspiracy theories, nor those who are heavily invested in them. There are many reasons to repudiate such ideas but for me the main one is just a simple observation on human nature. Any major conspiracy, plot or cover up requires large swaths of people to participate and remain quiet about the facts. Yet one of the most common attributes of the human condition is peoples total inability to shut up. Simply put, most conspiracy theories don’t hold water because someone would have blabbed. Hence, documentaries about how the moon landings were faked or how 9/11 was an “inside job” tend not to “butter any parsnips” with me. However, JFK Revisited: Through the Looking Glass is a surprisingly different beast. I was surprised by its measured approach and its inferred conclusion. Has old age mellowed the filmmaker Oliver Stone?

The assassination of John F. Kennedy, the 35th President of the United States, in 1963 was a landmark event. The murder of a serving president is no small beer and it has left a deep scar on the psyche of America. Especially in light of JFK’s policy of domestic reform and diplomatic engagement with the nation’s supposed “enemies”. Almost immediately after the tragic events it became apparent that there were inconsistencies in the evidence gathered from the subsequent investigation. These have never really gone away or been satisfactorily explained, so it was inevitable that legitimate reservations by both the press and the public would eventually lead to conspiracy theories concerning the true nature of the shooting. Then in 1991, filmmaker Oliver Stone explored the subject in-depth with his drama JFK.

Thirty years later, the director and writer returns to the subject with the documentary JFK Revisited: Through the Looking Glass. Due to a great deal of information now being formally declassified by the US government and available for public scrutiny, new information has come to light that seems to indicate a specific culprit. It would appear that a great deal of evidence was amassed by the Warren Commission which investigated the assassination and anything that didn’t support the clear narrative of “a lone gunman, working alone” was simply kept out of the final report. It is this information that is scrutinised and presented in this two hour documentary. The first part, narrated by Whoopi Goldberg, focuses on the new evidence. The second part, narrated by Donal Sutherland, explores the potential motives of the suspected party.

View fullsize

As for the finger of blame, it points squarely at the CIA. Furthermore, it does so in the most unsensational manner. By the time JFK Revisited: Through the Looking Glass reaches its conclusion, the evidence seems to be tediously plausible. There are no hyperbolic theories about secret organisations or complex plots financed by foreign powers to shoot the president. Just a rather credible assertion that the head of the CIA and a few hawkish senior members of the military didn’t like Kennedy’s policies or political leanings. The fact that he wanted to curtail US involvement in Vietnam was seen as unacceptable, unpatriotic and very bad for the economy. Hence the documentary implies that existing CIA assets were used and that Lee Harvey Oswald was specifically chosen because he could be conveniently disavowed and presented as a crank, as he was approaching the end of his operational use.

View fullsize

JFK Revisited: Through the Looking Glass does get a little over excited at times. The documentary does seem in a hurry to supply fact after fact for the viewer’s edification. A pause in the narrative from time to time would help audiences digest what they are being presented. Regardless of the pace this documentary is never dull, nor does it adopt the strident tone that those who immerse themselves in conspiracy theories often do. Even if you don’t agree with the manner in which the new evidence is interpreted, JFK Revisited: Through the Looking Glass most definitely shows that the overall 1963/4 investigation was flawed and therefore questionable. And because many politicians, journalists and writers have been sceptical for so long, the overall “conclusion” seems very plausible because it is not in any way unreasonable or extreme. Oliver Stone is also right that the debacle over JFK still has an impact on US politics today. He claims that Trump is a symptom of the ongoing fallout.

Arthur C. Clarke's Mysterious World (1980)

View fullsize

Television programmes that deal with the so-called supernatural, mysterious and the unexplained are commonplace these days. They fill the schedules of channels that used to broadcast quality wildlife, historical and scientific documentaries. All too often these shows focus on the sensational nature of their subject matter and lack any real objectivity, analysis and scientific rigour. The idea is not to impartially explore a subject to determine its veracity but to simply provide a degree of spectacle for as broad a viewing demographic as possible. However, that was not always the case. Back in 1980, Yorkshire Television produced Arthur C. Clarke's Mysterious World. A high profile exploration thirteen-part British television series looking at unexplained phenomena from around the world. The presence of Clarke, who introduced and book-ended the various subjects the show explored, brought a degree of impartiality and credibility to the proceedings. 

Arthur C. Clarke's Mysterious World was not intended to be a highbrow exploration of the subject nor was it designed just to infer the truth of the various mysteries that it focused upon. It was meant to provide an overview on well known subjects such as UFOs and the Loch Ness monster, providing first hand anecdotes, potential scientific explanations and logical conjectures. If there wasn’t a definitive explanation to a mystery Clarke would state this as being the case. However his standing in the scientific community meant that he wasn’t providing a tacit endorsement of supernatural theory and fringe beliefs. As each episode was only twenty five minutes long, they were not attempting to be the last word on the matter. However this approach found a comfortable mainstream, centre ground that the viewers found acceptable.

View fullsize

In the first episode, Clarke himself set out his approach to analysing each mystery. Each was categorised as either a mystery of the first, second or third kind. The first being phenomena which were mysterious to our ancestors but are now understood, such as a solar eclipse. The second being phenomena which are as yet unexplained but where we have several clues that suggest a potential answer or credible theory. Ball lightning was cited as an example of this. Finally the third was applicable to those phenomena for which we have no rational explanation. The various cases were then explored in short segments of eight minutes duration, narrated by Gordon Honeycombe. Eyewitnesses often recounted their experiences and then experts and academics would attempt to rationalise what had happened. The eye witnesses did have an opportunity for rebuttal and then Clarke himself would pronounce upon the matter in an independent manner. 

View fullsize

Over the course of the thirteen episode season, Arthur C. Clarke's Mysterious World  looked at the following mysteries. Sea monsters, Bigfoot and the Yeti, stone circles, the Tunguska event, UFOs as well as subjects such as Nazca lines, megalithic structures and phenomena such as raining fish and the “canals of Mars”. All of which had not been solely catalogued by one show before and brought into the UK viewers collective consciousness. The enigmatic opening credits featuring the Mitchell-Hedges Crystal “skull of doom” certainly left an impression, especially with younger viewers such as myself. Usually such material was looked down upon by UK critics yet the presence of a respected writer and academic such as Clarke who appeared to have a genuine interest in these phenomena, did seem to temper peoples scepticism. Viewing figures were sufficient to lead to two follow up series. Arthur C. Clarke's World of Strange Powers in 1985 and Arthur C. Clarke's Mysterious Universe in 1994.

View fullsize

I recently revisited Arthur C. Clarke's Mysterious World and found it to be just as engaging as I remember. It is presented in the formal style of the time with interviews and simple graphics. Clarke, often filmed in Sri Lanka, is even handed and measured in his thoughts and conclusions. Unlike the sensational hyperbole that is deliberately employed in contemporary shows. Due to the age of the series, some of the mysteries discussed have now been determined as hoaxes or have been relegated from their status as mysteries of the third kind, to the second. This includes the previously mentioned “skull of doom” which has been found to date from the 19th century and is not a three thousand year old artefact. Overall, Arthur C. Clarke's Mysterious World still maintains its original remit. Exploring mysteries with a degree of scepticism while still enjoying their inherent appeal and excitement. It’s a shame that so many modern shows can’t find this balance.

The First World War (2003)

View fullsize

Over the years I have seen many documentaries about World War II. Although I do not claim in any way to be an expert, I believe I have a good grasp on the causes and the course of that six year conflict. However, it recently struck me that I could not say the same about World War I. In my youth I watched a repeat showing of the BBC documentary series The Great War (1964) but I remember very little of its prodigious 26 episodes. The one thing that stood out were the interviews with veterans. So I was very pleased when perusing BritBox over the weekend to find the 2003 documentary The First World War, based upon the book of the same name by Professor Hew Strachan. This ten part analysis takes a global view of the conflict, rather than excessively focusing upon the Western Front and also debunks a lot of the apocryphal ideas and notions that have persisted over the years. I found it so compelling that I binged watched the entire thing over two evenings.

Rather than just overwhelm the viewer with an endless chronology of events, The First World War tackles a specific facet of the conflict in each episode. For example Jihad deals with events from the perspective of The Turkish Ottoman Empire and Blockade focuses upon U-Boat activities, the Battle of Jutland and other naval aspects of the war. It is a very manageable approach allowing for subjects to be explored without swamping the viewer. There is plenty of archive footage highlighting the points being made and the narrative is further supplemented by extracts from letters, journals and government records. The narration by Jonathan Lewis is measured, especially when discussing the staggering death and casualty figures. The documentary does not pull any punches when dealing with atrocities or the inherent carnage involved with war on such a scale. The stark black and white photographs and newsreel footage are often very shocking.

View fullsize

What I found most illuminating is the way The First World War eschews the binary approach that many previous documentaries have taken. It frequently shows the complexity and nuance surrounding so many aspects of the war. The intricate alliances between the various superpowers of the time are far from simple and the ethnic tensions within the Austro-Hungarian Empire are very involved. Key players such as Archduke Franz Ferdinand of Austria are revealed to be quite different from previous perceptions. The relationship between the United States and the British Empire is also shown to be far from cordial with the US benefitting immensely from loans and commerce with both England and Germany. Perhaps the most revealing arguments are those regarding military strategy. The cliché of Lions led by Donkeys is not shattered but is certainly tempered by the end of the series. Failures were at times due to incompetence but often many other factors conspired to derail events.

Yet despite the global perspective and geopolitical analysis, The First World War maintains a very personal and human perspective throughout its 8 hour plus running time. A letter to a family member or an anecdote about playing cards continuously reminds us that the mind boggling numbers of dead and wounded were all real people with family and lives waiting for them back home. The show also stresses how this war set in motion events that would return to haunt the world in less than twenty years hence. Yet it also genuinely tries to highlight some of the benefits that did occur after the armistice of 1918. The European Empires began to give way to nation states and democratic self governance. With a subject as big as World War I there are still some gaps in the history. I would have liked to have learned more about the role of Greece and the perspective of such countries as Canada, Australia and India. But overall The First World War is a very comprehensive and thoughtful exploration of events and is certainly a superb starting point for those seeking an intelligent overview on the subject.

The Sparks Brothers (2021)

View fullsize

The music business is a strange, interesting and broad church. A spectrum of musical styles and personalities all fulfilling the needs of different markets. There are pop stars who are buoyant but ephemeral. Then there are singer/songwriters who take their work seriously as they express their critique of the human condition via their music. There are also style icons, novelty acts, indie bands, lounge crooners and a myriad of other niche acts, all doing their own thing. And occasionally there are enigmas. Artists and bands that fly in the face of prevailing trends and commercial interest, who do consider their work to be an artistic endeavour and an expression of themselves and as such, do not see the virtue of personal compromise or corporate interests. Esoteric musicians who reinvent themselves continuously as they grow and age. Constantly defying the expectations of both their own fans and naysayers. Sparks are such a musical entity and the subject of a fascinating documentary by director Edgar Wright.

Sparks, created by brothers Ron and Russell Mael, are musical chameleons. During the course of their five decade long career they have flirted with rock, synth pop and the art song but always in their own unique and idiosyncratic way. They’re the very definition of a cult band who have often charted a course parallel to that of mainstream music. Yet their influence is far reaching as they very much appear to be “your favourite band’s favourite band”. The Sparks Brothers attempts to explore all these things in an energetic and surprisingly droll fashion. Director Edgar Wright, explains their appeal in part by emphasizing its essential nebulous and arcane nature. The documentary follows a simple chronological path from the brothers early life and first forays into music then continues to delineate their seminal albums and changes of musical direction over the ensuing years. Ron and Russell are clearly intelligent, talented and conscious of their own enigma. They are also very witty and personable. There are no divas here, just hardworking disciplined artists, intent on doing their thing.

View fullsize

Sparks’s public image is clearly defined and is possibly one of few constants about the duo. It is also one of contrasts. Vocalist Russell’s athletic physique, flowing locks and matinee-idol looks are contrasted by brother Ron and his gangrel deportment, deadpan countenance and Brilliantined hair. He has always sported a moustache that is somewhere between that of  Charlie Chaplin and Adolf Hitler. Russell’s falsetto voice and energetic on stage antics are further offset by Ron’s static performance as he sits at his keyboard exuding a miasma of curious strangeness. During the course of their career the brothers have made genuinely creative videos and their stage shows have bordered on performance art. Hence they have an appeal that reaches across musical genres and sexual demographics. All while singing about Sherlock Holmes, breasts and other eclectic subjects. Over the years their music has featured rock guitar riffs, synth arpeggios and infuriatingly catchy baroque song structures that draw upon classical composers such as Bach and Beethoven.

One of the most interesting aspects of The Sparks Brothers is the way the guest talking heads try to assess them and express their befuddlement at trying to pin them down. Nick Heyward candidly states “I thought they didn’t really exist” after he saw them in the flesh, out and about. Jonathan Ross describes their uniqueness and how they eschewed the traditional band image. “They look like people who’ve been sort of let out for a day”. Franz Ferdinand lead singer, Alex Kapranos, touches upon a commonly held misconception about the band “I always thought Sparks were a British Band” mainly because it seemed unlikely that the US could spawn an act so eccentric. The Sparks Brothers successfully sheds some light on the duo, who despite their European sound and anglophile nature were raised in California. Russell was surprisingly a high-school quarterback. Their father, an artist, seems to have had a major influence upon the brothers instilling a love of music, cinema and art. He tragically  died when Ron was 11 and Russell 8.

View fullsize

Edgar Wright, the director of quirky and intelligent films such as Shaun of the Dead and Baby Driver is eminently suited to document and dissect a band such as Sparks. In many ways they are kindred spirits and therefore both have a strong understanding of each other. Wright also has a proven track record of understanding music as he has used it so intelligently in his body of work. He manages to look beyond the band’s eccentric schtick and gets some very honest opinions out of them. They’re surprisingly unpretentious despite their somewhat esoteric body of work. They just think that music is more than just a disposable commodity and it is frankly very refreshing the way they constantly strive to do something different. They certainly do not seem to be disposed toward resting upon their laurels or retiring anytime soon.

The Sparks Brothers may be a little long for the casual viewer. Some may tire of the celebrity endorsements and find it a little borderline “lovies, darlings” but I would counter that with the relevance of being recognised and admired by your peers, rather than mainstream media. I deem one to be more significant and genuine than the other. The documentary references many of their best songs and I was surprised at how many I was directly or subconsciously familiar with. I even bought a 3 CD “best of” boxset as a result. Even if you’re not completely sold on the Mael brother’s brand of music, I can wholeheartedly recommend the documentary just as a study on genuine creativity and artistic integrity. Both are rare commodities these days. And for your edification, here is the song Something for the Girl With Everything which is pretty much Sparks in a nutshell. The tune is catchy but unusual and the lyrics are a psychologist's dream.

Something for the girl with everything
See, the writing's on the wall
You bought the girl a wall
Complete with matching ball-point pen
You can breathe another day
Secure in knowing she won't break you (yet)

Something for the girl with everything
Have another sweet my dear
Don't try to talk my dear
Your tiny little mouth is full
Here's a flavour you ain't tried
You shouldn't try to talk, your mouth is full

Something for the girl with everything
Three wise men are here
Three wise men are here
Bearing gifts to aid amnesia
She knows everything
She knows everything
She knew you way back when you weren't yourself

Here's a really pretty car
I hope it takes you far
I hope it takes you fast and far
Wow, the engine's really loud
Nobody's gonna hear a thing you say

Something for the girl with everything
Three wise men are here
Three wise men are here
Where should they leave these imported gimmicks
Leave them anywhere, leave them anywhere
Make sure that there's a clear path to the door

Something for the girl with everything
Something for the girl with everything
Something for the girl with everything
Something for the girl with everything
Three wise men are here
Three wise men are here
Three wise men are here
Three wise men are here

Here's a partridge in a tree
A gardener for the tree
Complete with ornithologist
Careful, careful with that crate
You wouldn't want to dent Sinatra, no

Something for the girl who has got everything,
Yes everything
Hey, come out and say hello
Before our friends all go
But say no more than just hello
Ah, the little girl is shy
You see of late she's been quite speechless, very speechless
She's got everything

Cosmos: A Personal Voyage (1980)

View fullsize

Carl Sagan's seminal science documentary Cosmos: A Personal Voyage was initially broadcast in the US between 28th September and 21st December 1980. Six months later it was shown in the UK on BBC One throughout the summer of 1981. I was thirteen years old at the time and this science documentary series had a tremendous impact upon not only me but an entire generation. The complexity of some of the subjects explored and discussed by Carl Sagan often left me perplexed. However, I knew that there was something special about this show and the way it presented science in such a personal manner. Therefore, I found myself going to both my local and school library to further read about the topics raised in each episode. But perhaps the most standout aspect of the show was Sagan himself. His commentary delivered directly to the camera was both enthralling and lyrical. His love and enthusiasm was palpable and clearly bled through into every aspect of the show. His ability to communicate clearly, complex and at times esoteric ideas, was a revelation and in many ways a gift. Similar to that of Jacob Bronowski and David Attenborough.

40 years on, I recently re-watched all 13 one-hour episodes of Cosmos: A Personal Voyage. The documentary has been digitally remastered and each instalment has been appended with an update that was recorded a decade later by Carl Sagan. These revise scientific elements that have changed or supply new information and theories. However, these changes are unobtrusive and do not in any way harm the show. As soon as the theme music by Vangelis began (Heaven and Hell, 3rd Movement) I immediately re-experienced how I felt when I originally watched this series as a teenager. The scope of this documentary remains breathtaking. Cosmos: A Personal Voyage explores multiple scientific disciplines, encompassing not just cosmology but also chemistry, physics, biology and the history of human discovery itself. Furthermore, whatever the subset of science is being discussed, Sagan makes it eminently fascinating and accessible.

View fullsize

Perhaps the most radical aspect of Cosmos: A Personal Voyage is the way it tackles ideas and historical events and presents them in a fashion that the audience can grasp and follow. All too often in the past, scientific discourse was didactic and utilised minimal props. This series decided to show as well as tell and hence we have Sagan’s ship of imagination that allows us to look upon stars and far flung planets. Also through that mainstay of seventies and eighties television, chroma key compositing, we visit the Library of Alexandria in the 3rd century BC. And then there’s the now famous "cosmic calendar", in which the big bang is on 1st January, first life on Earth appears on 25th September and all human endeavours take place in the final 10 seconds of December 31st. It’s a simple visual device which has a massive impact. Some of the props are simple such as a stick in a piece of cardboard. The computer animations are noticeably retro, yet they all do their job efficiently. Often Sagan will stand in front of an object and jsut extemporise. "This oak tree and me, we're made of the same stuff”. Furthermore, key historical events are reenacted simply and unpretentiously. We meet Ptolemy, Copernicus and Kepler.

Sagan and the show’s co-writers Ann Druyan and Steven Soter greatest achievement is in equating the exploration of the Earth to the exploration of space. He asserts that the scientific journeys of the past were the direct forerunners of the Voyager space missions. But Cosmos: A Personal Voyage is not content to confine itself to just science. Sagan was a humanist and an environmentalist long before they became mainstream talking points. He was keen to warn us about climate change in 1980, arguing that the hothouse gases on Venus showed a shocking possible future for our own planet. The spectre of the Cold War also looms large in the show with the possibility of nuclear war. However, despite these ominous warnings, Sagan chose to always offer hope and looked towards a brighter future. One in which humankind transcends its petty differences and looked to the universe to fulfill its destiny. "We have lingered long enough on the shores of the cosmic ocean. We are ready at last to set sail for the stars".

View fullsize

All things considered, Cosmos: A Personal Voyage is thoroughly entertaining and much of that comes down to Sagan himself. Sagan was a storyteller, even a poet when it comes to science and the story he tells is the greatest story of them all. One of alien worlds both within and without us, of scientific breakthroughs and the search for the meaning of life itself. Such a remit is staggering, yet Sagan honestly and enthusiastically takes us by the hand and leads us on this journey. What this landmark show ultimately demonstrates is that science and the mysteries of the cosmos are inherently enthralling in their own right and do not have to be “stage managed” to make them so. Sagan also tries to promote science not just as a body of knowledge but as a way of thinking and perceiving the world. He advocated critical thinking, skepticism and rigorous questioning. Sadly such things are currently in decline in wider society. Despite this, Cosmos: A Personal Voyage, has not diminished with age. It still remains relevant, thought provoking and a joy to watch.

Hearts of Darkness: A Filmmaker's Apocalypse (1991)

View fullsize

There was a time when film making was seen as an artistic endeavour and the idea of the auteur director pursuing a vision was considered a romantic and even noble undertaking. Big multi-million-dollar productions were welcomed when they filmed on location, providing work and glamour to the local population. The might of the dollar would often grease the wheels of industry, making the impossible possible. Egos were massaged, and actors were indulged and treated like minor deities. Huge sets would appear in the middle of nowhere, like Victorian follies and luxury items would be flown around the world to placate the capricious nature of the various Hollywood stars. Money would flow like water, much to the dismay of the producers, sitting back in the offices in the US or Europe. But this era has now past. Big budget movies are still made but it is now driven by corporate accounting and artistic vision is no longer a primary consideration. It is now a rather soulless business process. Hence a movie such as Apocalypse Now would never be made today in the same manner that it was back in 1976 when the production started.

Hearts of Darkness: A Filmmaker's Apocalypse is one of the best “movies about the making of a movie” ever made. It provides not only a window into them making of one of the most important movies of the seventies but also offers a snapshot of a kind of film making that simply doesn’t exist anymore. After several years of pre-production writer/director Francis Ford Coppola arrived in the Philippines in 1976 and quickly found himself drowning in the logistical, political and human aspects of this mammoth project. He asked his wife Eleannor to document the process which she dutifully did, filming events on and off set and recording conversations with her husband as the production started to spiral out of control. Hearts of Darkness: A Filmmaker's Apocalypse shows all this and more, in broad chronological order over the period of the extended location shoot. As for all the stories surrounding the “troubled” production of Apocalypse Now, they’re all broadly true. To catalogue them is somewhat redundant as it fails to adequately convey they’re true significance or magnitude. But to watch them happening first hand is utterly astounding.

View fullsize

Two of aspects of the production of Apocalypse Now that really stand out are the complex logistical requirements and human management. This was a big budget movie made in the days before computer effects. Therefore, the action scenes where shot on location and for real. A shot requiring a napalm strike in the treeline would subsequently feature a low fly-by by a jet plane and then tons of gasoline exploded by the effects crew, all flawlessly timed. Another scene featuring the crew exploring the jungle and encountering a tiger again would be undertaken with a live tiger and a handler. If the script required an ageing temple set in the jungle, then one would simply be built by local labour. Despite a typhoon destroying multiple sets early on in the production, the moment the weather nominally abated, then the crew were out filming, incorporating the extreme conditions into the narrative. And then there was the entire issue of the cast and their “personal journeys”. To reflect the reality of a soldier’s life in Vietnam, drugs were freely used among the production crew and actors. And presiding over this chaos was Coppola himself. Eleannor Coppola wrote of his experience “The film Francis is making is a metaphor for a journey into self. He has made that journey and is still making it. It's scary to watch someone you love go into the centre of himself and confront his fears, fear of failure, fear of death, fear of going insane. You have to fail a little, die a little, go insane a little, to come out the other side. The process is not over for Francis”.

But perhaps the most significant obstacle to challenge the production was its very own star, Marlon Brando. The seventies were a decade in which the “Hollywood Star” was still a revered, cultural icon. I cannot think of a circumstance nowadays in which a lead artist would be allowed to inconvenience an entire film production so much, while being indulged and cossetted. Brando’s intransigence and hubris were monumental, and he arrived on set late into the production with little or no preparation for the role. His continual questioning and debating the script verged upon gas lighting and his utter indifference to the rest of the cast was a major impediment. It is much to Coppola’s credit that he allowed the actor to eventually just extemporise around certain plot elements and from the hours of footage shot, collate such a powerful performance. When the production finally ended after sixteen months, it took a further year for the director to assemble a workable print of the movie. Half of the original script, written by John Milius, was re-written by Coppola himself and post production required the return of many cast members to re-record new lines and the framing narration.

View fullsize

If one has no knowledge of film history, it would be reasonable to assume after watching the documentary Hearts of Darkness: A Filmmaker's Apocalypse, that the resultant film, Apocalypse Now, was an absolute disaster both critically and financially. However, that was not the case and the movie is now hailed as a “haunting, hallucinatory Vietnam war epic” and “cinema at its most audacious and visionary”. Certainly, the entire production and associated apocrypha surrounding the film can be seen as a metaphor to the entire Vietnam War in itself. As for Hearts of Darkness: A Filmmaker's Apocalypse it is an invaluable exploration of film making process of the times. It not only catalogues but appears testifies to the notion that creating art is a painful and extremely difficult process. Yet the key to success is to stay true to your artistic vision, whatever the cost. Whether you agree with such concepts is up to you to decide. Is Hearts of Darkness: A Filmmaker's Apocalypse showing us the struggles of an auteur director or simply recording the runaway indulgences of an ego maniac? Either way it is an incredible and utterly fascinating documentary to watch.

M R James: Ghost Writer (2013)

View fullsize

MR James: Ghost Writer is a sixty-minute documentary written and presented by Mark Gatiss, exploring the life of Britain's foremost ghost story writer. Gatiss, a long-time admirer of James, delves in to the life of the author from his devout Anglican upbringing and close-knit family life, through to his ascent to the summit of academia at King's college, Cambridge. The program seeks to discover what motivated this scholarly bachelor to create some of the most iconic and chilling ghost stories in English literature. By following in James’s footsteps, the documentary attempts to gain a greater insight in to the enigmatic author. 

MR James: Ghost Writer explores in some depth the legacy of Mr James, emphasising his early life in Suffolk and the religious nature of his family. His academic prowess and near obsession with Medieval text and apocrypha clearly had an impact upon his writing, with much of the visual imagery from his writings being directly lifted from manuscripts he worked with on a daily basis. Only being familiar with James's work from a literary standing, I was greatly surprised by the great academic achievements of his life. His written treatise on illuminated Apocalypse manuscripts still remains an unparalleled achievement along with his rise to the office of provost and directorship of the Fitzwilliam Museum.

View fullsize

Despite the dry and formal nature of Victorian life, James was a surprising gregarious animal, taking an active part in college social life. Although he certainly reflected facets of the antiquarian characters that so often populated his stories, he was also a man of immense passion. His personal friendships were deep and of great importance to him, as correspondence with his inner circle demonstrate. His relationship with ex-pupil and illustrator James McBryde, succinctly demonstrates a profound platonic friendship of a type seldom seen these days. The documentary also addressed the impact of the "Great war" upon both James and the college and the subsequent way it influenced his later writing. 

Perhaps the best aspect of Mark Gatiss's exploration of all things Jamesian, is the honest and fair way the subject of his "personal life" is explored. There is a trend in contemporary analysis to sometimes over zealously look for evidence modern schools of thought in those from prior eras. Several revisionist scholars seem to seize upon "examples" of a sexual subtext in the author's work and are then are happy to extrapolate this in to theories of suppressed homosexuality. Mr. Gatiss does not shy away from such notions but neither does he make any definitive conclusions. His interview with a former pupil of James whose father was also a close personal friend, perhaps sheds the most light upon the matter.

View fullsize

The visual and editing style of MR James: Ghost Writer is very compelling and follows a broadly linear narrative path, with many a tangential aside to explore illustrative points. Being a BBC commission project there a lot of use of footage from previous television adaptations in referencing James's literary work. The documentary effectively makes use of actor Robert Lloyd Parry, who recreates James celebrated readings of his stories at Christmas, to his fellow members of the " Chit Chat Club". Parry specialises in one-man performances of the work of M R James and provides some excellent readings from such stories as Canon Alberic's Scrapbook and A warning to the Curious. 

Although it is an impossible task to definitively encapsulate a writer such as M R James in a single sixty-minute documentary, MR James: Ghost Writer certainly provides an interesting overview. Mark Gatiss has an obvious passion for the man and clearly identifies with him on many levels. However, this is far from an unobjective eulogy and depicts James as a man of his time with not particularly progressive attitudes on sexual equality or modernisation. I therefore whole heartedly recommend MR James: Ghost Writer not only established M R James fans but to wider scholars of the ghost stories who wish to learn more about one of the genres finest authors.

Wisconsin Death Trip (1999)

View fullsize

Wisconsin Death Trip is a strange, enigmatic, non-linear docudrama and that makes for compelling viewing for the open minded. It is based upon the 1973 non-fiction book Wisconsin Death Trip by Michael Lesy, which explores a collection of late 19th century photographs by Jackson County, photographer Charles Van Schaick. These are mainly taken in the city of Black River Falls. The authentic black and white pictures are further embellished by local news reports from the same period, predominantly taken from the Black River Falls newspaper. These articles emphasise the harsh aspects of Midwestern rural life under the pressures of crime, disease, mental illness, and urbanization. The book has been a source of influence over the years, with authors such as Stephen King and Rod Jones citing the impact its had upon their respective work. Film maker James Marsh has subsequently taken this curious microcosm of rural life and death and extrapolated it a compelling reflection upon mortality and the fragility of human existence.

View fullsize

Wisconsin Death Trip is beautifully narrated in an understated, matter of fact fashion by Ian Holm. The docudrama avoids the traditional linear approach to exploring such subject matters and there are no explanations by historians or psychiatrists to account for the litany of deaths, murders and suicides. Director Marsh instead elects to blend the period photographs with recreation of the events being narrated. The matter of fact approach of the newspaper stories from the 1890s are quite a surprise. They lack the contemporary penchant for hyperbole and comes close to normalising what are inherently bizarre events. The original reports never seem to attempt to explore the motives for the various murders and suicides and seem to justify them with the most arbitrary of explanations. Yet the photos clearly speak for themselves about the reality of frontier life and the harsh existence that these immigrants endured. Dead babies in coffins, the Winnebago Indians suffering from small pox and the recently hung are all starkly shown.

View fullsize

The period stories are also intercut with colour scenes from present day Black River Falls, juxtaposing the hardship of life in the 1890s with the mundanity of contemporary small-town America. It makes for an interesting contrast. One minute we’re reflecting upon a jilted lover shooting the object of their affection and the next we’re watching modern kids playing in the streets and a local beauty pageant. Yet there is a distinct Lynchian undercurrent to the proceedings. Perhaps the inference is despite the calm and measured pace of twenty first century life in this sleepy rural town, it would only take some nominal changes in the climate or the loss of power to drive even a modern community to the edge of despair and the borders of insanity, as in the 1890s. It certainly makes you think, which seems to be the underlying point of Wisconsin Death Trip. It is an oddly fascinating 76 minutes that’s a far cry from your traditional documentary. Recommended to those who have an interest in the human condition and aren’t perturbed by the macabre.

The Truth Is Out There (2011)

View fullsize

Dean Haglund is best known for playing Richard Langly, one of the Lone Gunmen on The X-Files. In recent years has capitalised upon that role and has become closely identified with the realm of the paranormal and the world of conspiracy theories. The documentary The Truth Is Out There follows Dean as he travels the US and attempts to discover just what it means to search for the truth in a world where conspiracies theories, untruths and fake news abound. The documentary directed by Phil Leirness, humorously takes the viewer on a journey of discovery, talking to those who believe that the world is not what it seems.

It takes a while for The Truth Is Out There to find its feet. The first ten minutes or so focuses on Dean Haglund visiting various conventions and fringe groups. Due to Dean's exuberant personality, it is difficult to initally predict exactly what tone the documentary will take to its subject. However, after a while it becomes very clear that his persona and rapport with those he talks to is an invaluable asset. The scientists, authors, mediums, journalists that he interviews warm to his charm and express themselves in very relaxed way. There is little conflict during their discussions as they’re afforded a great deal of respect and not treated as “nuts”. 

View fullsize

Director Phil Leirness has edited together from hours of material, a very fair and measured documentary. In some instances, I felt that possibly too much time was given to certain parties, but that may just be me. Those with a greater interest in this topic may feel that the running time of 141 minutes is too short. My only other complaint was that the accompanying soundtrack was a little too intrusive at times and detracted from what was happening on screen.

As the documentary progresses and the audience meet a wider group of individuals with increasingly complex views of the world, the film cross cuts to Dean in discussion with psychotherapist, Dr. Nicki Monti. I personally found this to be one of the most engaging aspects of the film. By nature, I am sceptical of this facet of contemporary medicine, but on this occasion felt that the observations that were spot one and very pertinent to the discussion. It is also important to point out that Phil Leirness has been very even handed in his treatment of all interviewees. If any of them proceed to shoot themselves and their respective arguments in the foot, it is by their own hands and not his. 

View fullsize

The Truth Is Out There potentially appeals to a multitude of demographics. A great deal of this hinges of the charm of Dean Haglund and his amusing and dry quips. There is much food for thought in the ideas and concepts discussed, from Area 51 to the 9/11 conspiracies, as well as our fascination as a society for this sort of material. For the past fifty years, conspiracy theories have become an increasingly popular topic of debate. Whether you consider them genuine or merely the delusional conceits of those ill-equipped to deal with reality, it is a phenomenon that is not going to go away.

Inside Jaws (2013)

View fullsize

Once again Jamie Benning has created a filmumentary that is pretty much a definitive exploration of its subject matter. Inside Jaws contains a staggering amount of facts, details, insight and commentary about one of the greatest films ever made. Yet despite a wealth of information, it is presented in a way that is easily digestible and enhances the movie, rather than overwhelms it. As with Star Wars Begins, the original movie is annotated with on-screen text, commentary tracks and behind the scenes footage, which provide incisive overview into the movies production. 

I cannot stress how much work Jamie has gone to in assembling this filmumentary. Not only has he trawled through hours of TV coverage, radio spots, press releases, news articles and biographies, he has also personally contacted and interviewed numerous people associated with the production. This has provided a lot of new and interesting anecdotes and personal stories about the movies lengthy production in 1974. Inside Jaws is the embodiment of a labour of love, yet it is far more than a fan film. Its measured, well thought out approach offers a documentary to rival that of any professional outlet. This is a production that is accessible to both ardent fans, scholars of cinema and those who are simply curious about one of the most successful movies of the seventies.

View fullsize

Throughout Inside Jaws running time, not a stone is left unturned with regard to the production. The screenplay, production design and casting are all explored. It also discretely handles the thorny issue of the authorship of Quint's USS Indianapolis speech; a subject that has been greatly debated over the years. Writers Howard Sackler and John Milius and Robert Shaw all had a hand in shaping the scene and ownership has always been contested. The documentary also shows that despite being a difficult and problematic production, Jaws was a blockbuster that was made with a great deal of integrity and artistic vision. Something I don't believe that can be said about a lot of modern day equivalents. 

So, if you enjoy Steven Spielberg's movie on any level, do yourself a favour and watch it again through the unique medium of Jamie Benning's filmumentary. It can only enhance your enjoyment of one the best movies ever made. And when you’ve finished, check out Jamie’s other documentaries. Raiding the Lost Ark, Star Wars Begins, Building Empire and Returning to Jedi. All are available via his Vimeo channel and well worth viewing.

Star Wars Begins (2011)

View fullsize

Star Wars Begins is a detailed documentary by film maker Jamie Benning that explores the creation of what is now considered to be the most iconic movie of the seventies; namely Star Wars. It features a wealth of deleted scenes, alternate takes, behind-the-scenes footage, bloopers, original on set audio recordings and a great deal of commentary by the original cast and crew. As far as I’m concerned, it is the most thorough and in-depth analysis of Star Wars I have yet to see. Frankly it beats hands down, any of the officially sanctioned documentaries that have appeared over the year on the various DVD and Blu-ray releases of the trilogy.

It is Benning’s feature-length approach of his documentary that follows the flow of the original movie, that makes it so compelling. As the Star Wars itself plays, all aspects of the production are crossed referenced and annotated as they appear on screen. The documentary is also a very illuminating insight into the US and British movie industry of the times. Despite having a prodigious wealth of information to convey, the documentary handles the pace of material well and the viewer has time to digest what is shown and discussed without getting overwhelmed. This is a considerable achievement for a documentary, which can be a difficult format to master. Star Wars Begins is most certainly a painstaking labour of love, but the hard work pays off with an even-handed film that finds the right balance between interesting facts and pacing.

View fullsize

The documentary also succeeds in catering to both hardcore fans and the more casual viewer. If you have not seen some of the famous deleted scenes, such as Han's original meeting with Jabba the Hutt or Luke's dialogue with his friend Biggs Darklighter then you are in for a treat. Some of the original on-set audio is extremely amusing such as actor Dave Prowse speaking Darth Vader's lines in a West Country accent. Overall what the documentary does is offer a totally fresh perspective on Star Wars which helps re-invigorate one’s enjoyment of the classic trilogy. Until Disney’s renewal of the franchise in recent years, the second trilogy of prequels did cast a shadow over the original three movies.

Another thing I've learned from Star Wars Begins is that some aspects of the original movie were intended to be more violent. This is something that has always been present in Lucas's work but certainly it didn't come to the forefront until the second trilogy. For example, stills from the Cantina set show that Ponda Baba's initial fate was meant to be far more unpleasant than just losing his arm. Then there is the matter of Han Solo shooting Greedo from under the table. The entire "Han shot first" debacle shows that the character was initially intended to be perceived in a very different way. Yet movies are often by nature evolutionary things, especially on big productions. Often scenes will be reshot if they don’t work out, or if a better idea is mooted. Plus, as Star Wars Begins points out, a production of this nature had never been done before and many of those involved were flying by the seat of their pants.

View fullsize

Director Benning has also made similar documentaries for both The Empire Strikes Back and Return of the Jedi.  It should be noted that these ‘filmumentaries’ are unofficial and fall within a somewhat grey area with regard to their “status”. They are completely non-profit making and made with full acknowledgement to the appropriate copyright holders. So far, the new copyright holders Disney seem content to let sleeping dogs lie, however there is no guarantee that things will remain that way. Therefore, I would urge all fans of Star Wars to seek them out and watch them while they're still available on Jamie Benning's Vimeo channel because they are quite unique.