Frank Lloyd Wright

This was a great documentary! Very well done! This man's life was amazing. He was an absolute architectural and engineering genius! This documentary well showed his life and his work and although the total time was a little over 2 1/2 hours, it didn't seem that long! The film was engrossing! I Have seen two other projects of Ken Burns', 1)his amazingly detailed "Civil War", and 2), His equally dazzling look into the "History of Major League Baseball". Guys, don't be mislead by the subject matter of Architecture. You will not be bored. This man was (WRIGHT) to say the least,'Quite the personality'. (Likewise for you ladies with 'baseball', or even the 'Civil War'), Mr. Burns looks at EVERY ANGLE of his subjects with accuracy and all the humor, detail, tragedy and truth that only hours and hours of research could bring. His 'Labors of Love' on his subjects ALWAYS shines through! Never more than here, with Frank Lloyd Wright.!

I can't help liking a man so devoted to what he perceived as excellence, but it's possible to find his creations less than perfect. They were too costly and impractical and may have started a pernicious trend in architecture: ostentation rather than comfort. Wright seems to forget that buildings are there to serve us, not the other way around. He seems more at home on the stage, as a set designer for futuristic films or operas, rather than the real world. Did he like Beethoven? Well, so do I, and Chausson and Faure too. This is a great documentary about a fascinating man, at war with practicality and mortality.

Like many great men, Frank Lloyd Wright was complex and controversial. You either love his architecture, or you hate it. Few people are lukewarm about Wright's work. After seeing this documentary, few will be lukewarm about the man.

Raised on the idea that he was destined for greatness, Wright behaved throughout his life as if he were above the constraints of ordinary people. This documentary takes an unflinching look at the turmoil this caused in Wright's life.

The vignettes of family members are moving, particularly a scene near the end when his grandson recalls Wright's death. By simple chronological narrative, Burns takes us from dazzling heights when Wright's fellowship was thriving artistically and financially, to dismal lows when his wife had to wear hand-me-down coats in the cold Wisconsin winter.

The commentaries by architecture illuminati are illuminating, if perhaps a bit insular. Vincent Scully gained fame at the distinguished Yale School of Architeture. Phillip Johnson, a graduate of Harvard, once referred to Scully as the most influential teacher of architecture in history, and used his position as founder of MoMA Department of Architecture and Design as a bully pulpit to vilify Wright's work during Johnson's association with Bauhuas buddies Meis and Gropius. Robert A. M. Stern is currently Dean of Yale's School of Architecture, and with Scully, was responsible for popularizing the work of great architects like Robert Venturi. Still, this cabal of academic elitists sing a harmonious chorus of praise to Wright that demonstrates the rising and falling tides of Wright's popularity.

The documentary will not satisfy those who merely wish to see a catalog of Wright works, and after all, is there anyone alive who hasn't explored that body of work? It focuses instead on Wright the man, something much less understood. Wright is described as everything from a genius, a charlatan, and a con artist, to the greatest American Architect, and probably all are true. But if Wright and his early mentor Louis Sullivan were correct that form follows function, then perhaps genius is best understood by examining the life that developed it.

The makers of this film "get" Wright, and the consistency of Wright's vision, from his earliest work, to mid-career masterpieces like Fallingwater, to his final triumph with the Solomon R. Guggenheim Museum on Fifth Avenue in New York City is presented with insight and perspective. A great documentary about a great man.

And, when speaking about America's most-beloved/most-hated architects of them all - Does one properly refer to this man as being Mr. Frank Lloyd Wright, or should he really be called Mr. Frank Lloyd Wrong?

Needless to say - There can be no doubt that Frank Lloyd Wright (who was/is probably the most celebrated and misjudged architects ever) was destined to redesign the entire world, but, for some unforeseen reasons, this towering vision of his was simply never realized.

Born in Wisconsin in 1867 - I think it's really very surprising to note that Wright's most productive years in his field of work didn't come around until he had reached the age of 80 (!!).

Throughout his 70-year career as one very ambitious, strong-willed and arrogant architect, Wright not only designed private homes and office towers, but he's also credited with the design of churches, schools, hotels and, yes, even gas stations and furniture, as well.

Even though this 2.5-hour documentary (directed by Ken Burns) had its fair share of notable merits and strengths to its advantage, it also racked up a few demerit points for itself by (for one thing) placing way too much emphasis on Wright's very turbulent personal life.

In 1959, Frank Lloyd Wright died at the age of 91.

I think the thing to remember about this documentary is that it's called "Frank Lloyd Wright," not "The Buildings of Frank Lloyd Wright." There are many other resources for those wishing to learn about his designs and the structures he built. (A personal recommendation is the 2002 documentary, "Restoration of Frank Lloyd Wright's Heurtley House").

The format that Ken Burns's films use is well known by now: pans of many still photographs, informative narration -- often jam-packed with facts but clearly presented and in a generally objective tone. Shifts in time and place are smoothly integrated such that it's unlikely that an attentive viewer will get lost.

Frank Lloyd Wright died in 1959 at age 91, and there were very few years in his long life that were not without controversy. He broke all kinds of rules with his architectural designs to create some truly remarkable structures -- "Fallingwater," the Johnson Wax Building in Racine, Wisconsin, the Imperial Hotel in Tokyo and most especially the Guggenheim Museum in New York. They are all examples of his iconoclasm. They and other structures sealed his reputation as the most famous American architect of his or any other generation. But it was the personal scandals, generally involving other men's wives, that forced him to flee the country on a number of occasions, and put his career in a deep freeze for long spells.

By his own admission Wright was an absent and negligent father to his many children; he seems to have been serially unfaithful until late middle age, and he was wild and extravagant with money -- particularly other people's. Clips from a 1958 TV interview with a chain-smoking Mike Wallace are interspersed throughout, and a snippet of it concludes the documentary with Wright proclaiming his immortality. Wright the man seems to have been insufferable, and he seems to have gotten little joy out of life.

Yet his doesn't appear to have been a tortured soul; his personal life may have been absent any harmony, and yet that quality repeatedly found its way into his work. Many of Wright's buildings are in breathtaking concert with nature. His interior designs, including that of the Unity Temple and almost all of his stained glass, suggest they are the creation of an unfettered and free spirit. Wright may have been such a man, but if so he directed those energies in many of the wrong places. His self-centeredness, arrogance and certainty of his genius hurt a lot of people around him.

It's well to ask why anyone wanted to work under him, and yet the waiting list for the scholarship program he operated at his Taliesin West studios in Arizona in the 1930s, 40s and 50s was a mile long. Students of Wright's were bent to his will; they had to do four hours' manual labor a day, grow their own food, submit to having their love relationships and even some marriages orchestrated by his wife, Olgivanna. The place was run like a boot camp, but the opportunity to work side by side with Wright was enough to keep the applications flowing in. Several graduates of the school are interviewed in the documentary, and for all of them working with Wright seems to have been the seminal experience of their lives -- they don't recall the hoops they had to jump through and the indignities they signed on for in order to have that privilege.

To truly love and appreciate the works of Frank Lloyd Wright, it's almost better if you don't know too much about their designer. Still, the dichotomy between the man and his sublime creations makes a great story, and this documentary is a largely successful attempt to bridge that gap.