If I say “documentaries,” most readers will probably stop reading and move on to something else.
But for those of us who who are enjoying a “golden age” of documentaries, finding that they are often more engaging and rewarding than other kinds of films (Was there a better suspense-thriller last year than Man on Wire?)… here’s a question:
Which documentaries are the “fairest” of them all?
That is to say: In one corner, we have Michael Moore and Bill Maher, who take their opinions and often carefully “sculpt” information, manipulate interviews, deny screen time to thoughtful experts who disagree with them, sometimes ridicule and degrade those who disagree with them, and stoop to hyperbole and distortion in order to support their views. Then there are other documentary artists who present something in all of its complexity — serving the audience through respect, humility, and a more comprehensive presentation. These good people encourage us to wrestle with hard questions and decide for ourselves what to think.
Which documentaries set the standard, in your opinion?
Reviewing a good example, here’s Ken Morefield at Filmwell:
If one proverbial mark of a good narrative film is three good scenes and no bad ones, one way to gauge a documentary is whether or not it is capable at some point or another of making you sympathetic to multiple perspectives. It’s not that I want to always end in the mushy middle, but if an issue is complex, then I expect my thoughts about it to develop as more information is brought forward.
Really skillful documentaries (or at least ones I like) have a tendency to trust that you are following the arguments and add nuance to them rather than simply hammering home the same point over and over again.
Which movie is he talking about? Check it out.
I’m a big fan of the Albert & David Maysles (Salesman, Gimme Shelter, Grey Gardens)
I was also impressed by Tony Kaye’s abortion piece called Lake of Fire, which was fairly successful at presenting a balanced look at the issue.
And one of my favorite documentaries is a short called City of Cranes, which was surprisingly insightful and poetic.
One of my favorite documentaries has always been Orson Welles’ much-debated F FOR FAKE. Years ahead of its time, and still one of the very best.
I love those early Maysles films, too, especially Salesman and Grey Gardens, but Werner Herzog’s short and long documentaries consistently impact me the most. La Soufriere, Little Dieter Needs to Fly, The Great Ecstasy of the Sculptor Steiner, The White Diamond, Encounters at the End of the World. So many good ones. Les Blank’s various Americana docs are wonderful too (Garlic is as Good as Ten Mothers, etc.)
My favorite documentaries (indeed, the only ones I watch anymore) are the ones that study the oddball “unimportant” topics…The King of Kong, Air Guitar Nation, Cinemania, Wordplay, Helvetica, Grizzly Man, Murderball, Young@Heart and Man on Wire. These films reveal interesting aspects of the human experience without pushing any agendas, mostly because there are no real agendas to push. Like my favorite fictional films, they’re just interesting stories with interesting characters, the difference being that they’re more or less factual, which invariably makes them more interesting.
Werner Herzog’s documentaries are in a category all by themselves. They don’t fit neatly into either the Moore/Maher or carefully objective category. I think what makes them so interesting is that Herzog “directs” his documentaries and injects his own unique viewpoint. Probably the closest thing he’s made to a straightforward documentary is his recent Encounters at the End of the World.
Herzog’s a fantastic documentrarian, but far from fair. I can’t recall the name of the man who directed “Capturing the Friedmans,” but I think that was one of the most balanced docs I’ve seen—my opinion on what happened ping-ponged several times until I was left admitting that I had no idea what the truth was in those circumstances. Also, George Ratliffe’s “Hell House” is very fair in depicting Christians’ good intentions and bad ideas.
But the fairest may be Steve James. “Hoop Dreams” is still one of the great documentaries in the way it addresses the harshness of American life and the struggles of growing up in the inner-city. And his “Stevie” is just emotionally eviscerating and–a testament to his journalistic credibility–even he is not left off the hook.
Michael Moore is a great story-teller and Bill Maher is a smart and funny guy—but they’re not true documentrarians (neither is the director of the wretched ‘Expelled’). Morgan Spurlock is a bit more genial but no less a ringmaster.
Whatever Barbara Kopple documentary I’ve seen most recently. “At the Death House Door”; “My Kid Could Paint That”; “Grizzly Man”; “Taxi to the Dark Side”; “Hearts of Darkness: A Filmmaker’s Apocalypse”; “Enron: The Smartest Guys in the Room”: “Forgiving Dr. Mengele”; “Senator Obama Goes to Africa”; “The Gleaners and I”…it’s really just a great time to be a documentary lover.
>but they’re not true documentrarians (neither is the director of the wretched ‘Expelled’)
It intrigued me that Expelled was ignored in the “unfair” category…it seemed…well…unfair to only cite left leaning documentarians considering Expelled was as guilty as either Moore or Maher of carefully choosing information to make a specific side look good. But as a Christian I felt I got more respect from Maher than people who believe in Evolution got in Expelled. They got a “I am not saying believing in evolution leads to Nazi-ism…but, basically, it does.”
As far as documentaries I felt worked?
Unborn in the U.S.A., Lake of Fire, Paradise Lost, the Stair Case, Confessions of a Superhero, End of the Century, Waco:Rules of Engagement were all good. I don’t really believe a good documentary is “fair”, having a perspective is not an inherent problem. Right now, I think of filmmakers, I would say Andrea Pelosi makes some good films.
Documentaries should be judged on the basis of whether they’re true, not whether they’re fair.