Female Misbehavior

Dir: Monika Treut, 1992. Starring: Camille Paglia, Annie Sprinkle. Documentary.

The title of this documentary makes me angry. Of course you know why; here are these “bad girls” who swear and are neurotic loud-mouths who shouldn't display themselves so gracelessly. The director of these four documentaries should have known better, seeing as how she directed smut, but forgiveness can be given based on her choice of subjects. Director Monika Treut dips into the lives of four women who couldn't be more different than the average woman, and yet offer some amazing lessons in life. Camille Paglia, true-feminist and all-time eccentric, opens the documentary by revealing the fickle and dishonest reality of American feminism and gives her two cents on what is right and wrong with our view of women and their bodies. Camille's segment is followed by a short documentary on Annie Sprinkle, a notorious '80s porn star who worked with the likes of Jennifer Welles and now has a doctorate in human sexuality. Following Annie is a short on bondage, and one woman in particular whose life was forever changed by its introduction into her life. This particular short is a bit more on the experimental side, with less interview time and more artsy shots of skin against leather, etc. Following that is a documentary on Max, who's going through the expense and social hostility of a female to male sex change.

The first segment on Camille really blew my mind. As a woman who considered herself a feminist, I always found the idea of feminist theory as a whole to be very restrictive and a little contradictory. Camille is a fast-talking woman who always had issues with her sexuality. She flips from bisexual to asexual on a daily basis and could never understand why it was so difficult to find someone compatible. Her biggest issues come with women in the lesbian community who, for the most part, frown upon the idea of a partner who is still interested in men. I'm not sure if this reality is one that threatens their comfort or appears to be a false claim, but it's not unheard of for people in the gay community to disassociate themselves from those who leave the issue open. Camille also offers a more radical stance on feminism because she is pro-pornography and doesn't see it as something degrading for a woman, or a man. Many of her beliefs are compared to Freud and early masochistic arguments. This, along with her many other rants, have led many feminists to see her as the anti-feminist, or more amusing, the “Stalin of feminism.” Despite all of the negative criticism toward her, she's taught at and attended several prestigious universities and her book, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson, broke publishing records for scholastic literature. While I didn't agree with her entirely, I enjoyed her fervor and engaging arguments. If you're a woman who could never understand why productions like The Vagina Monologues had such huge success, you'll enjoy listening to Camille's interviews.

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Edythe Smith
May 4, 2011 2:05pm

Amargosa

Dir: Todd Robinson, 2000. Documentary.

In the 1970s, journalists for the National Geographic magazine stumbled into a small, seemingly deserted theater in Death Valley. Inside was a woman of old age dressed in costume, performing ballet for an empty room. Surrounding the stage and empty seats was her artwork, a mural done over the course of a few seasons that resembles an audience of nobles and royalty. These journalists found the woman, Marta Becket, to be extraordinary. They interviewed her, trying to understand how an aged New York ballerina found her way to the desert, and what she hopes to accomplish. They discovered that she was reclusive, a woman used to being alone and yet only wanted love and understanding from human beings. When this simple desire conflicted with her quest to become a devoted artist, she turned to the desert and one of its ghost towns for solace. Amargosa attempts to chronicle her life, both in the limelight and in Death Valley.

Marta Becket started dancing at 14, which she states was a late start. Her mother nourished and supported her efforts to sing, dance, and paint, while her father remained a skeptic until his death. She made it to Broadway, dancing for years and developing beautiful relationships with dancing partners and associates. She married in her 30s and thought she had finally settled into life, until something seemed to tug at her conscience. She saw a fortune teller, but couldn't figure out what the prophecy meant. After riding through the desert with her husband, they got a flat tire and began looking for help. Nearby was a small white theater, deserted and literally falling apart. Upon discovering the theater, Becket presented her find to her husband and inquired about its ownership. The town was mostly uninhabited and in desperate need of repairs, so Becket was offered the theater for practically nothing in exchange for fixing it up. The decision to move to the desert and start a new life was done with a haste and assuredness that wasn't matched by her husband. They two split after years of an already difficult marriage, and Becket settled into the idea of truly being alone. She renamed the theater Amargosa, which is Spanish for “bitter” and was the former name of Death Valley Junction, where the theater stands.

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Edythe Smith
Mar 25, 2011 12:38pm

Man on Wire

Dir: James Marsh, 2008. Documentary.

“If I die, what a beautiful death; to die in the exercise of your passion.” - Philippe Petit

In his youth, Philippe Petit was drawn to climbing, fencing, and riding a unicycle. Balance was a gift, and motivation was endless. When he was 17, while waiting to see a dentist, he came across an article in the paper about two structures that were to be built in New York. The World Trade Center was to be the largest man-made structure, and within him developed a dream to conquer such a building in his own poetic way. Learning to walk a tightrope and gather close friends to help him reach his future goals, Petit set out to train, plan, and discipline himself to walk across a building that was yet to exist.

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Edythe Smith
Mar 25, 2011 11:41am

Fetishes

Dir: Nick Broomfield, 1996. Documentary.

Nick Broomfield is a London-born director known for his minimalist approach with various subjects. His style is similar to the cinéma vérité techniques that many English filmmakers have adopted, allowing the eccentric or sometimes dangerous lifestyles of his subjects to overshadow any techniques used. His most popular works include Kurt & Courtney, Biggie and Tupac, and Aileen: Life and Death of a Serial Killer.

With Fetishes, Broomfield travels to Manhattan in order to interview and film the women and clients of Pandora's Box—an upscale S & M parlor of pleasure and bondage for those wishing to be dominated by a mistress. The documentary is separated into eight chapters: slaves, mistresses, rubber fetish, wrestling fetish, corporal punishment, masochism, infantilism, and socio-political fetishes.

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Edythe Smith
Mar 18, 2011 11:07am

Inside Job

Dir: Charles Ferguson, 2010. Documentary.

"A guerrilla war is an intimate affair, fought not merely with weapons but fought in the minds of the men in the villages and in the hills, fought by the spirit and policy of those who run the local government."

--W.W. Rostow, address to the first graduating class at the U.S. Army Warfare School, Fort Bragg, June 1961 This documentary should be seen by everyone. In my opinion, it is one of the best documentaries to expose the roots behind the global economic crisis of 2008. It should be seen, analyzed, and discussed by as many people as possible. While I don’t agree with some of the conclusions made in the film—for example, minimizing the structural crisis inherent within capitalism while overemphasizing the lack of government financial regulations as a major source of the crisis—it convincingly demonstrates the real-life horror when the Milton Friedmans of the world take over: socialism for the rich, free enterprise for the rest. One only needs to look at Wisconsin right now to see this at work. Having won an Oscar for Best Documentary this year, Charles Ferguson’s film builds and yet departs from previous documentaries on the topic: Casino Jack and the United States of Money (directed by Alex Gibney, 2010) and Collapse (directed by Chris Smith, 2010). There is so much to say about Inside Job. However, for me, the most interesting part of the film is the section where Ferguson challenges some of the professors involved in the “inside job” that created the global financial meltdown at a cost over $20 trillion, resulted in millions losing their jobs, homes, etc. He interviews people like Professor Frederic Mishkin at Columbia Business School, and its Dean, Glenn Hubbard; Martin Feldstein, a Professor of Economics at Harvard University; and many more. (Larry Summers and Laura Tyson both declined to...

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Posted by:
Jose Palafox
Mar 9, 2011 5:10pm

My Flesh and Blood

Dir: Jonathan Karsh, 2003. Documentary.

This film should seriously be a required viewing for everyone who wishes to adopt a child, or has a child with special needs. Though this belief seems to be shared among those who've seen it, I'd even recommend that children of all ages and backgrounds see it as well, especially those with only one parent. I say this because Karsh's directorial debut is able to show us the experience of adopting a child from both the parent's side, as well as the child's. The Tom family case is obviously unique because of the number of children and the range of their disabilities, but the hardships and joys of family life as a whole are universal. Children of single-parent homes can view this film and be given an example of what obstacles their parent must face, both for them and in terms of their own needs.

Susan Tom is a divorced single mother who, while raising her biological children with her former husband, began adopting children from all over the world. In total, her adopted brood tops off at 11. More mind-blowing than the fact that she is raising and caring for this many children alone is the fact that they all have mental and/or physical disabilities. Without a nurse or much help from foundations and social workers, she and her oldest daughters help maintain the house.

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Edythe Smith
Mar 2, 2011 5:53pm

Girl 27

Dir: David Stenn, 2007. Documentary.

Though this documentary has a subject that is extremely compelling and brave, it was unfortunately poorly made. Somehow I don't believe that the fault was at the hands of the directors or producers, but simply the lack of cooperation and substantial footage. The fact that I still took away a lot of information and was able to truly sympathize with all the victims and their stories was enough to make me see the film as something well-worth everyone's time.

In April 2003, Vanity Fair printed their Hollywood Issue. Inside was a story titled, “It Happened One Night...at MGM,” which gave a detailed account of a massive cover up by MGM that has to do with the rape of Patricia Douglas. In 1937, MGM decided to organize a large convention for all of its sales employees and producers who, I should add, were all men. These conventions were seen as a sort of holiday among the participants, where lodging, food, entertainment, and a lot of alcohol were provided to ensure that everyone had a good time and felt that they were essential to the company. The entertainment for one of these conventions would come in the form of over one hundred female dancers, most of whom were under-aged girls. Before the big party of the convention happened, a casting call was made by MGM in which these girls were told that they would be dancing in a movie and needed to be fitted for cowgirl costumes, then report to a barn on Hal Roach's ranch. On the casting call list, one of these girls had her name in bold and underlined: Girl 27, Pat Douglas, who was 17 at the time. The movie the girls were supposed to be dancing in turned out to be a stag party for all of the MGM employees, one of whom was presumably made to feel as though he had one of the many girls all to himself. That man was producer David Ross and the girl he was pushed toward was Patricia Douglas.

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Posted by:
Edythe Smith
Feb 25, 2011 6:27pm

A Personal Journey with Martin Scorsese Through American Movies

Dir: Martin Scorsese, Michael Henry Wilson, 1995. Documentary.

I’ve always mistrusted the adulation that greets Martin Scorsese whenever he makes a new movie. I wasn’t around for the glory days of the New Hollywood generation of film directors making their mark in the 1970s, of which he was, of course, a principle member. His reputation as a master of gritty poetic realism was built on films like Taxi Driver, Raging Bull, and Mean Streets and I can understand their importance to American cinema of the 1970s and '80s. But what has always bugged me is his media-appointed status and de facto role as America’s Greatest Living Film Director. I just find such a distinction to be inherently suspicious. He’s a relatively apolitical filmmaker who, in his most successful films glorifies (whatever his intentions) a criminal underclass that is meant to embody the aspirational drive of Americans for success and material wealth whatever the cost. Goodfellas is a seamless rush of images and sound. It’s a great film, but I’ve always felt that some of the greatness accorded it by critics and audiences (and his other films like it) is based in part on an obvious celebration of his one dimensional psychopathic characters. What are we really celebrating when we call him America’s Greatest Living Film Director? I’m not totally sure.

That said, the man knows a lot about movies—he is almost as famous for his films as he is for boasting an encyclopedic knowledge of film history and the way a film’s subtext is made manifest through directorial technique. He also has excellent taste. Scorsese is the perfect guide to the world of American film and this BFI-produced documentary, in which he shares with us some of his favorite films, is a pleasure to watch for its three hour duration. He starts out by saying that this is a project for him to talk about his favorite films and that he can only vouch for their importance to him as part of the formative experiences that shaped him as a film director.

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Posted by:
Jed Leland
Feb 25, 2011 6:13pm

I Think We're Alone Now

Dir: Sean Donnelly, 2008. Documentary.

You've always heard stories of stalkers and people who honestly believe that they are seriously destined to be with certain celebrities. In a sense, our culture has encouraged such activities. Since the beginning of the film industry and, in the last century with musicians, celebrities in the performing arts have been followed by paparazzi and fans with little escape from the public eye. In almost every grocer there are magazines filled with false or accurate news of some star. The biggest market seems to be teen magazines and their readers who can become more involved by sending in fan mail, etc. This kind of activity eventually fades and these young people stop being fixated. I Think We're Alone Now follows two individuals who became obsessed with a singer way past their youths, and despite their oddness, quite organically.

Tiffany Darwish, referred to as simply Tiffany, had a singing career in the '80s and was a pop icon, though her popularity fizzled out within a few years. Some of her songs still receive radio play and are known by just about everybody. The title of this documentary shares the name of perhaps her most popular song, a cover of Tommy James & The Shondells, and one that is of great importance to one of the subjects in the film.

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Edythe Smith
Feb 25, 2011 12:36pm

Flight from Death: The Quest for Immortality

Dir: Patrick Shen, 2003. Documentary.

This compelling documentary, narrated by Gabriel Byrne, uncovers the bittersweet consequences of our efforts as humans to try to avoid death for the longest time possible. It begins by explaining the phenomena on a more scientific level, touching on animal instincts to survive and pointing out that we are the only species that carries a "burden of anxiety" in terms of our own death. All other animals live only in present danger when confronted by their fears, and we do as well when directly threatened. But unlike other animals, we are aware that we will one day die. Not only do we take precautions avoiding death, but we perform various efforts to try and leave a lasting impression before we go.

Experimental social psychologists Sheldon Solomon and Jeff Greenberg are introduced in this documentary, along with several other professors of humanities, ranging from religion to psychoanalysis. Many of them have formed their ideas on "death denial" from the studies done by Ernest Becker, a Pulitzer Prize winning author who worked exclusively on the concept. With these investigations, they have tried to find a way to unravel the positive and negative effects of death denial. You’d be surprised to find out which areas they believe this denial reaches in our subconscious, and what it causes us to do.

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Posted by:
Edythe Smith
Nov 24, 2010 11:49am
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