Derrida

If you've begun reading Derrida for the first time, there is nothing in this video for you. If you've come out on the other side of reading Derrida after a long time, there is nothing in this video for you. Then why watch it? Because it is a document of a man who remains--and will remain--one of the most important philosophers of the modern era. He is gone now, but if you've never seen him you have the opportunity in this video to look at him.

This video is not the Cliff notes to a corpus of work. It is, instead, a look into the public and private life of a man who, like everyone of us, remains a mystery to strangers. And it is a dirty look, a pornographic eye, indeed, that does the looking. The creators are like groupies at a rock show, the ones that manage to weasel back stage passes. They know not enough to ask smart questions, ones that would make Derrida think. So instead, they follow the man around like stalkers, pointing their video camera into his private life: We watch, as did they, Derrida put jam on his toast, talk about his cat, walk through his house, walk through the street. It is as though the video makers were simply in awe of the fact that the man lives!

The same video makers/groupies/stalkers made a video about/on/addressed to/following the cultural critic, Zizek. Similar result, except the latter looked an awful lot like promotional matter. And make no doubt, the co-creator of this video has said as much: "There is a market for these videos," she said at the screening of Zizek in Amherst. Pornographer indeed.

In short there is nothing in this movie that you need to see. But you do get to see everything. Derrida is gone now, but he once was alive. You can find him in his books, but if you want to gawk at him, then check out this video.

The man has three ideas: the world is art and is largely a social construction; we are built to deconstruct; when we do so, we must use only our body in admiration because that is all we have. All the rest from him is packing material.

I believe only the first of these, and that not quite in the way that is burdened by his fatalistic dogma. He allows less room for the power of the artist, the constructive dialogue between artist and viewer and the nature/urge of the medium to have its own being apart from the world.

He's a strange phenomenon, a philosopher who deliberately appeals to the ordinary public: philosophy for nonphilosphers. I wonder whether such a thing can exist. Is it more like math and science or art? Art is the notion of internal forces (passion, ideas) formed for consumption. There's the attempt to cross worlds, usually from something deep and unreachable to something that masses can get.

Math differs, and phlosophy probably as well. I know a rather famous popularizer of mathematical ideas, but it seems to be that the very best he can do is impart the wonder that awaits someone who learns the secret codes. I have another friend who writes an extremely successful history book for 5th graders. She reduces history to succinct stories centered on people. I believe that this can never reveal the real lessons, which have to do with forces and urges, complicated stuff to model. Its very hard and pretending it isn't only pulls people further away from ideas.

I see Derrida this way. He's found something that vaguely smells of philosophy, that remotely indicates the promise of a worldview — but that is instead a storytelling framework. He's the sort of person you'd want at a few of your parties, but it seems to me his stories have constraints on how useful they can be, and especially when used as he does: to make stories about stories.

I further suppose that the accident of his popularity was made possible by the need for such metastories and the way that need was filled by writers on French film who later made some film essays.

So it is with some curiosity that I approached this. Its a grand opportunity: to see a story about a presentation made by a man of himself maintaining a framework for stories about other stories. Since each of the 7 levels there are all rooted in film, we might have had an amazing film experience, one that shows and breaks, that uses and transcends, that explores and demolishes.

There is no better expression of limits of ideas than the ideas expressed.

But no. I do believe the filmmakers had something clever in mind. But what they did was center on the self. They accepted his intent without a critical eye. So we get a specific sort — a unique sort — of contemporary French vacuous meditation. Its not even interesting to react against.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

This film is a demonstration of deconstructionist thought first; and its subject happens to be the "father of deconstructionism." Once you get over this situation, it's a somewhat charming film, a sort of video fugue. The film presents an important theme early on, when Derrida quotes Heidegger (quite fittingly because much of Derrida's writings are based upon Heidegger's philosophy) about Aristotle's life: he was born, he thought, and he died. And the rest is pure anecdote. This is pretty much all this film says about Derrida. Listening to the commentary on the deleted opening scene in the extras on the DVD is quite helpful, and can give you an idea if you want to continue to watch. I liked how much this film touches on the issues of celebrity, privacy, and media saturated culture, without focusing on a mega-pop celebrity. I'd have liked to have been more succinct, but this forum requires ten lines. Too bad.

"Derrida" dogs philosopher Jaques Derrida from boudoir to lectern and shows him being filmed and people filming him and him refusing to say anything personal while making the usual vague and ambiguous excursions in philosophical thought which one tends to expect of thinkers (or so they think) while never delivering anything of substance. We get to see Derrida butter his English muffin but we don't get to see him deconstruct deconstructionism because, of course, that's not possible. Bottom line: This documentary tries with synth music, voice-overs, translations, interviews, etc. but doesn't really sink its teeth into what appears to be a self-affected man who expects it is better to be thought an enigma than to open one's mouth and prove no enigma exists. Does the future have a future? If you really care, you might want to spend time with this film. Otherwise, just agree that it does and find something interesting to watch. (C)

I've never written a review on this site, mostly because I find that most reviews are fair and well-meaning that, for the most part, aim to get at the root of the film itself. However, I was compelled to write something about "Derrida," because, for whatever reason, reviewers of the film have largely ignored the filmmakers' intent and, even worse, in some cases, used their review as a platform to air pent-up grievances about this celebrated thinker.

Simply put, "Derrida" is a wonder: a disarming, captivating film that alchemizes a seemingly un-filmable subject--the daily life, travels, and thoughts of a brilliant philosopher--into a convincing, wholly cinematic portrait.

As the above reviewers suggest, this is no bio-pic. There is no omniscient, James Earl Jones voiceover here. The film doesn't attempt to teach deconstruction, nor does it offer any Ken Burns-like, definitive world view. Instead, co-directors Kirby Dick and Amy Ziering Kofman follow the trail blazed by Frederick Wiseman and the Maysles Brothers--cinema verite pioneers who recognized that voiceover, forced narrative arcs, and easy psychological explanations of character often distort and dilute the truth of a person or event. As the Maysles brothers did in "Salesman" and "Grey Gardens," among other films, Dick and Kofman spent years with their subject, slowly gaining the trust of this notoriously camera-shy man, following him without a narrow agenda, and open to whatever occurred in front of them. In the process, Dick and Kofman successfully capture unguarded moments and unexpected events--including quiet breakfasts, intimate conversations about his family, and revelatory interviews -which, ultimately, challenge our preconceptions of Derrida, while deepening our fascination with his mind and life.

Years from now, when Derrida has left us, it will be easy to present a Crossfire-like discussion on the merits and value of his thinking. If inclined, one could even dredge up shady details of his past. However, I would strongly argue that nobody will able to provide the kind of illumination that "Derrida" offers--an unfiltered and tantalizing look at one of the most creative and influential minds of today.