Category Archives: Documentary

You Will Go to the Moon: A NASA film festival

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 23, 2022)

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53 years ago this week, Apollo 11 astronauts Neil Armstrong and Buzz Aldrin became the first humans to set foot on the moon. I know-you’ve heard this story a million times; don’t worry, I’ll keep this short.

For those of us of “a certain age”, that is to say, old enough to have actually witnessed the moon landing live on TV… the fact that “we” were even able to achieve this feat “by the end of the decade” (as President Kennedy projected in 1961) still feels like a pretty big deal to me.

Of course, there are still  big unanswered questions out there about Life, the Universe, and Everything, but I’ll leave that to future generations. I feel that I’ve done my part…spending my formative years plunked in front of a B&W TV in my PJs eating Sugar Smacks and watching Walter Cronkite reporting live from the Cape.

It is in this spirit that I have curated a NASA film festival for you. Blast off!

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Apollo 11– This 2019 documentary was a labor of love for director Todd Douglas Miller, who also produced and edited. Miller had access to a trove of previously unreleased 70mm footage from Apollo 11’s launch and recovery, which he and his production team was able to seamlessly integrate with archival 35mm and 16mm footage, as well as photos and CCTV. All audio and visual elements were digitally restored, and Miller put it together in such a way that it flows like a narrative film (i.e., no new voice-over narration or present-day talking heads intrude). The result is mesmerizing.

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Apollo 13– While overly formal at times, Ron Howard’s 1995 dramatization of the ill-fated mission that injected “Houston, we have a problem” into the zeitgeist is still an absorbing history lesson. You get a sense of the claustrophobic tension the astronauts must have felt while brainstorming out of their harrowing predicament. Tom Hanks, Kevin Bacon and Bill Paxton have great natural chemistry as crew mates Lovell, Swigert and Haise, and Ed Harris was born to portray Ground Control’s flight director, Gene Kranz.

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The Dish– This wonderful 2000 sleeper from Australia is based on the true story behind one of the critical components that facilitated the live TV images of Neil Armstrong setting foot on the moon: a tracking station located on a sheep farm in New South Wales. Quirky characters abound in Rob Sitch’s culture-clash comedy (reminiscent of Bill Forsythe’s Local Hero). It’s not all played for laughs; the re-enactment of the moon-landing telecast is genuinely moving. Sam Neill heads a fine cast. Director Sitch and co-writers Santo Cilauro, Tom Gleisner, and Jane Kennedy also collaborated on another film I recommend checking out: The Castle (1997).

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The Farthest–  Remember when NASA spaceflights were an exciting, all-day news event? We seem to have lost that collective feeling of wonder and curiosity about mankind’s plunge into the cosmos (people are too busy looking down at their phones to stargaze anymore). Emer Reynolds’ beautifully made 2017 documentary about the twin Voyager space probes rekindles that excitement for any of us who dare to look up. And if the footage of Carl Sagan’s eloquent musings regarding the “pale blue dot” that we call home fails to bring you to tears, then surely you have no soul.

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For All Mankind– Former astronaut Al Reinert’s 1989 documentary was culled from thousands of feet of mission footage shot by the Apollo astronauts over a period of years. Don’t expect standard exposition; this is simply a montage of (literally) out-of-this-world imagery with anecdotal and philosophical musings provided by the astronauts. Brian Eno composed the soundtrack. A mesmerizing visual tone poem in the vein of Koyaanisqatsi.

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In the Shadow of the Moon– The premise of this 2007 documentary (similar to For All Mankind) is simple enough; surviving members of the Apollo moon flights tell their stories, accompanied by astounding mission footage (some previously unseen). But somehow, director David Sington has managed to take this very familiar piece of 20th century history and infuse it with an exhilarating sense of rediscovery.

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The Right Stuff– Director and writer Philip Kaufman’s 1983 film (based on Tom Wolfe’s book) is a stirring drama about NASA’s Mercury program. Considering the film was modestly budgeted (by today’s standards), it has quite an expansive scope. The rich characterizations also make it an intimate story, beautifully acted by a dream cast including Ed Harris, Sam Shepard, Dennis Quaid, Scott Glenn, Barbara Hershey, Fred Ward, Pamela Reed, Lance Henriksen, Scott Wilson, Veronica Cartwright, Jeff Goldblum, Harry Shearer and the late Levon Helm.

BONUS TRACK!
Singing us out… Moxy Fruvous.

 

Inconceivable differences: Battleground (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 9, 2022)

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41% of Americans believe Jesus will come back by 2050.

Rolling Stone journalist, from the 2022 documentary Battleground

If Jesus came back and saw what was being done in his name, he’d never stop throwing up.

-from Hannah and Her Sisters, screenplay by Woody Allen

When I switched on the news and saw a coterie of fresh-faced female activists literally cheering the Supreme Court’s reactionary ruling overturning Roe v. Wade, I reflexively yelled at my TV (imitating Richard Dreyfuss in Close Encounters of the Third Kind) …

“Who ARE you people?!”

Well…

The rollback of abortion rights has been received by many American women with a sense of shock and fear, and warnings about an ominous decline in women’s status as full citizens.

But for some women, the decision meant something different: a triumph of human rights, not an impediment to women’s rights.

“I just reject the idea that as a woman I need abortion to be successful or to be as thriving as a man in my career,” said Phoebe Purvey, a 26-year-old Texan. “I don’t think I need to sacrifice a life in order to do that.”

The Supreme Court decision overturning Roe v. Wade was a political victory, accomplished by lobbyists, strategists and campaign professionals over the course of decades. But it was also a cultural battle, fought by activists across the country including those in the exact demographic that abortion-rights advocates warn have the most to lose in the new American landscape: young women.

Often pointed to by anti-abortion leaders as the face of the movement, a new generation of activists say they are poised to continue the fight in a post-Roe nation. Many, but not all of them, are Christian conservatives, the demographic that has long formed the core of the anti-abortion movement. Others are secular and view their efforts against abortion as part of a progressive quest for human rights. All have grown up with once unthinkable access to images from inside the womb, which has helped convince them that a fetus is a full human being long before it is viable.

Many believe the procedure should be banned at conception — that even the earliest abortion is effectively murder. But they embrace the mainstream anti-abortion view that women are victims of the abortion “industry” and should not be prosecuted, putting them at odds with the rising “abolitionist” wing of the movement calling for women to be held legally responsible for their abortions. And overwhelmingly, these young women reject the notion that access to abortion is necessary to their own — or any woman’s — success.

That’s nice. So…who ARE you people?

In my 2013 review of the documentary Let The Fire Burn, which recounted what led up to a 1985-gun battle between Philadelphia police and members of the MOVE organization (resulting in the death of 11 of its members, including 5 children), I wrote:

Depending upon whom you might ask, MOVE was an “organization”, a “religious cult”, a “radical group”, or all the above. The biggest question in my mind (and one the film doesn’t necessarily delve into) is whether it was another example of psychotic entelechy. So, what is “psychotic entelechy”, exactly? Well, according to Stan A. Lindsay, the author of Psychotic Entelechy: The Dangers of Spiritual Gifts Theology, “it” would be:

…the tendency of some individuals to be so desirous of fulfilling or bringing to perfection the implications of their terminologies that they engage in very hazardous or damaging actions.

In the context of Lindsay’s book, he is expanding on ideas laid down by literary theorist Kenneth Burke and applying them to possibly explain the self-destructive traits shared by the charismatic leaders of modern-day cults like The People’s Temple, Order of the Solar Tradition, Heaven’s Gate, and The Branch Davidians. He ponders whether all the tragic deaths that resulted should be labeled as “suicides, murders, or accidents”.

Now, I’m not drawing a direct comparison between the “new generation of [anti-abortion] activists” mentioned in the New York Times piece to members of The People’s Temple or the Branch Davidians; although the anti-abortion movement does share certain theological roots, and its history is not violence-free (clinics bombed, doctors murdered).

One thing apparent in Battleground, Cynthia Lowen’s timely portrait of three pro-life activists (Kristan Hawkins, president of Students for Life of America, Marjorie Dannenfelser, president of Susan B. Anthony List, and self-described “atheist/liberal/pro-lifer” Terrisa Bukovinac, executive director of the Progressive Anti-Abortion Uprising) is her subjects’ evangelical fervor for their political cause. Put another way, these chirpily hell-bent Christian soldiers all appear to have supped deeply of the sacramental Flavor-Ade.

Lowen opens her documentary with chilling audio-only excerpts (that I’ve never heard before) from a closed-door meeting held 40 days before the 2016 elections between then-candidate Donald J. Trump, members of his inner circle and leaders of the religious right:

Male 1: We’ve all been paid handsomely by the Trump organization.

Male 2: I don’t know about you, but let me just tell you, I do what Mr. Trump says, right? [laughter]

Trump [entering the room]: Hello, everybody. [half-jokingly] This is real power! […]

Steve Bannon [addressing the religious leaders]: The key that picks the lock to this election…is you. Conservative Catholics and Evangelicals who have not voted, who have not been motivated to vote, have to come to the polls. If we don’t win on November 8th, it’s because Evangelical and Catholic leaders have not delivered. Your fate is in your own hands. […]

Pastor Robert Jeffress: There is only one candidate running in this election who is pro-life, pro religious liberty, pro-conservative Justices to the Supreme Court, and there is only one candidate who treats the views of conservative Christians with respect…and that candidate is Donald Trump. […]

Trump: And this president could choose, I mean it could be five. It’s probably going to be three. It could very well be four, but it could even be five Justices. So you get a Hillary Clinton in there, and it’s over. […]

There’s more, but if you were awake and cognizant during the 4 (endless) years of the Trump administration, you’ve already had a major spoiler as to whether that promise was kept.

The anti-abortion forces had another (arguably even more powerful) political ally—Senator Mitch McConnell, who is shown in the film addressing a Susan B. Anthony List meeting:

As Senate Majority Leader, one thing that I get to do that the other 99 [senators] don’t get to do is to decide what we’re going to do. [pauses for laughter] And obviously, that was on full display when I decided not to fill the Scalia vacancy. [cheers and applause].

Oh, that Mitch…he’s a caution, isn’t he?

McConnell may have been winking at the choir with his braggadocio, but the power that one man holds in context of America’s increasingly polarizing culture wars is frightening. As Lowen points out in her Director’s Statement, “Abortion is the low-hanging fruit that compels anti-choice voting blocks to the polls, and what’s at stake is a much broader agenda: the end of separation between church and state. Outlawing abortion is just the beginning.”

Battleground is a thought-provoking, well-made study, but it’s a bit of a dilemma as to whether I can “recommend” it…it’s almost too close to this week’s headlines for its own good (“Tell me something I don’t know.”) Political junkies likely will not find its lede revelatory; namely, that there has been a well-organized, highly motivated political machine laser-focused on overturning Roe v. Wade for decades.

That said, now that it appears anti-abortion activists are one step closer to their coveted “post-Roe nation”, it’s critical “someone” (in this case, a filmmaker) bears witness and documents that moment Reality caught up with the cautionary adage “When Fascism comes to America, it will be wrapped in the flag and carrying a cross.”

Tribeca 2022: Angelheaded Hipster: The Songs of Marc Bolan and T. Rex ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 18, 2022)

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Flying saucer, take me away. In 1971, the year before Bowie brought Ziggy Stardust to Earth, T. Rex landed the glam rock mother ship with their breakthrough album Electric Warrior. Originally formed as the duo Tyrannosaurus Rex in 1967, songwriter-vocalist-guitarist Marc Bolan and percussionist/obvious Tolkien fan Steve Peregrin Took (aka Steve Porter) put out several albums of psychedelia-tinged folk before splitting in 1970. Mickey Finn replaced Took, and Bolan recruited additional personnel and shortened the name to T. Rex in 1970.

Bolan’s coupling of power chord boogie with pan-sexual stage attire turned heads, making him the poster boy for what came to be labeled “glam-rock” (although, to my ears Bolan’s songs are rooted in traditional Chuck Berry riffs and straight-ahead blues-rock…albeit with enigmatic and absurdist lyrics). Tragically, Bolan died in a car accident in 1977 at 29. An amazingly prolific songwriter, he left behind a substantial catalogue and a legion of fans.

Ethan Silverman’s film traces Bolan’s career, weaving in footage from the sessions for the 2020 multi-artist tribute album Angelheaded Hipster: The Songs of Marc Bolan and T. Rex (Silverman was also involved in the production of the album). In addition to archival Bolan interviews and T. Rex performances (much of the latter taken from Ringo Starr’s 1973 Born to Boogie doc), tribute album participants like U2, Nick Cave Joan Jett, and Rolan Bolan weigh in. There are also comments (some archival) from Gloria Jones, Elton John, David Bowie, Billy Idol, Tony Visconti, Ringo and Cameron Crowe.  While it may not be a definitive portrait, it’s a heartfelt nod to a rock icon whose lasting influence cannot be overstated.

Tribeca 2022: Billion Dollar Babies: The True Story of the Cabbage Patch Kids ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 18, 2022)

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Andrew Jenks’ documentary connects the dots between two uniquely American traditions: Appalachian folk art, and shoppers trampling each other at Black Friday sales (“USA! USA! USA!”). But seriously…Cabbage Patch Kids. I’m old enough to remember the phenomena, but when they hit store shelves in the early 80s, I was in my mid-20s and too old to care.

Irregardless, I found some parts of the origin story weirdly fascinating, particularly the brick-and-mortar “hospital” where purchasers could view their doll’s “delivery” (from a head of cabbage) and then sign official “adoption papers” (more akin to Motel Hell than a Disney movie). And then there were the plagiarism lawsuits. Not essential viewing, but if you’re in the mood for a fun wallow in 80s nostalgia, you’ll dig it (hey…it’s even narrated by Neil Patrick Harris).

Tribeca 2022: Hallelujah: Leonard Cohen, A Journey, A Song ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 18, 2022)

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Several years ago, I saw Tom Jones at the Santa Barbara Bowl. Naturally, he did his cavalcade of singalong hits, but an unexpected moment occurred mid-set, when he launched into Leonard Cohen’s “Tower of Song”. Jones’ performance felt so intimate, confessional and emotionally resonant that you’d think Cohen had tailored it just for him. When Jones sang, I was born like this, I had no choice/I was born with the gift of a golden voice, I “got” it. Why shouldn’t Tom Jones cover a Cohen song? I later learned “Tower of Song” has also been covered by the likes of U2, Nick Cave, and The Jesus and Mary Chain.

A truly great song tends to transcend its composer, taking on a life of its own. The reasons why can be as enigmatic as the act of creation itself. In an archival clip in Dan Geller and Dayna Goldfine’s beautifully constructed documentary, the late Cohen muses, “If I knew where songs came from, I’d go there more often.” Using the backstory of his beloved composition “Hallelujah” as a catalyst, the filmmakers take us “there”, rendering a moving, spiritual portrait of a poet, a singer-songwriter, and a seeker.

Tribeca 2022: Lakota Nation vs. The United States ***½

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 18, 2022)

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The history of the Black Hills is a microcosm of America’s “founding” …discovery, expansion, exploitation, and genocide (and not always in that order). I put “founding” in quotes because, of course, “someone” was already here when Columbus (and eventually, the Pilgrims) landed. In the case of the Black Hills (1.2 million acres encompassing adjoining sections of South Dakota and Wyoming), those residents were the Očéti Šakówiŋ (aka the Sioux Nation).

Writer-director-narrator Layli Long Soldier makes it clear in the introduction to her film that it is not going to be a chronological history, with reenactments of key events. In other words, don’t expect a Ken Burns joint here…but that’s a good thing, because essentially her documentary is a tone poem that embodies the spirit of the Oyate people and beautifully conveys their deep connections to the Black Hills (after all, Long Soldier is a poet).

There is plenty of history in the film; sadly, most of it bleak, revealing an endless string of broken treaties and general lack of respect for sacred land (from the Indian Wars of the 1800s to President Trump’s boorish Fourth of July rally at Mt. Rushmore in 2020). But Long Soldier holds out hope for the future as well, with profiles of longtime Native American activists and a new generation of community leaders and organizers. Powerful.

Tribeca 2022: The Wild One ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 18, 2022)

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Tessa Louise-Salomé directs this biography of theater and film director Jack Garfein. A Czechoslovakian-born Holocaust survivor, Garfein (who passed away in 2019) only directed two feature films, The Strange One (1957) and Walk on the Wild Side (1961); but each was notable for tackling then-taboo issues (homosexuality in the former and rape in the latter). Garfein tells his own story, with a wealth of archival clips and photographs woven throughout.

Most affecting are his recollections of the concentration camps, and how this harrowing experience informed his work as an artist. He also recalls his longtime marriage to actress Carroll Baker (which I was previously unaware of) and his involvement with The Actor’s Studio in New York (he later moved to Hollywood and co-founded Actors Studio West). An engrossing and intimate portrait.

Tribeca 2022: The Lost Weekend: A Love Story ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 11, 2022)

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As a lifetime Beatle fan, I like to think that everything I don’t know about the Fabs wouldn’t fill a flea’s codpiece…but I’ll confess that I learned a new thing or two about John Lennon’s infamous mid-life crisis in this engrossing documentary, directed by Eve Brandstein, Richard Kaufman, and Stuart Samuels.

This “lost weekend” (coined as such by Lennon himself) lasted approximately a year and a half, from 1973 into 1974, and was precipitated by a rocky period in his storied marriage with Yoko Ono. According to the mythology, Yoko gave John “permission” to sow his wild oats for a spell.

She had a caveat…the couple’s devoted personal assistant May Pang was to accompany John as his “girlfriend”. No matter how you look at it, this was an unconventional separation. It’s no secret that Lennon and Pang became a very public item. History has not always been kind to Ms. Pang, who was arguably caught in the middle of a marital power struggle between her employers.

With this film, Pang finally gets a chance to tell her story…and it’s a real eye-opener. Her entrée into the rarefied air of the Beatles’ inner circle by the tender age of 19 plays like a fairy tale, especially considering her modest beginnings growing up in Spanish Harlem. Her parents were Chinese immigrants; a rocky relationship with her dismissive father drove her to seek solace in rock and roll music (and of course, to discover the Beatles).

The expected anecdotes associated with “the lost weekend” are here-Lennon’s purloined bacchanal with “The Hollywood Vampires”, the wild studio sessions with Phil Spector, et.al. (and a few you may not have previously heard). But the real heart of the film is the story of how Pang’s relationship with Lennon developed (more organically than has been generally assumed). Julian Lennon is also on hand to offer his perspective. A lovely and affecting memoir by Pang, and a treat for Beatle fans.

Tribeca 2022: Dreaming Walls: Inside the Chelsea Hotel ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 11, 2022)

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Since 1883, the Hotel Chelsea in New York City has been the center of the universe for bohemian culture. It has been the hostelry of choice for the holiest of hipster saints over the years, housing just about anybody who was anybody in the upper echelons of poets, writers, playwrights, artists, actors, directors, musicians, and free thinkers over the past century.

Maya Duverdier and Amélie van Elmbt’s documentary is an impressionistic portrait of the venerable landmark, vacillating between dredging up the ghosts of its past and profiling some of the current residents as they go about their daily lives (obviously selected for their, ah …colorful eccentricities). Nearly every tenant has an opinion on the extensive renovations that were in progress during filming; some welcome the upgrade, others see it as something akin to sacrilege (the latter camp tend to be longtime residents).

While it may lack cohesion at times, the film is beautifully photographed, with several compelling and hypnotic sequences, as well as unexpected emotional resonance.

Tribeca 2022: Chop and Steele ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 11, 2022)

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Is a moonlighting gig still definable as “a moonlighting gig” if you don’t have a day job? Self-employed presenters Joe Pickett and Nick Prueher are primarily known as creators (and curators) of the “Found Footage Festival”- the duo’s traveling roadshow of truly weird and wacky VHS-sourced clips. What began as a shared hobby for the long-time buds has turned into a years-long obsession with combing second-hand stores, garage sales and dumpsters for tapes…encompassing everything from commercially released special interest to obscure corporate training videos.

But that’s only half the story in Ben Steinbauer and Berndt Mader’s profile. Pickett and Prueher also have a second incarnation as elaborate pranksters. For a brief and shining moment, they became “Chop and Steele”, self-billed as “strongmen” (even if they certainly didn’t look the part). Almost unbelievably, they were able to book numerous appearances on locally produced “happy talk” TV shows, pushing the gag as far as possible before hapless hosts would catch on and immediately cue a commercial break.

They even finagled a taping on America’s Got Talent (although their bit wasn’t aired…and you’ll see why). Chop and Steele’s “career” abruptly ended when a media company brought a lawsuit against Pickett and Prueher. Entertaining, with thoughtful sidebars regarding the sometimes-tenuous relationship between comedy and the First Amendment. Howie Mandel, Bobcat Goldthwait and other admirers add their two cents.