Highly personal (and informative) documentary
My review was written in March 1990 after a screening at Public Theater in Greenwich Village.
Emile DeAntonio's final film is a thought-provoking form of "meta-film", the type of rumination that preoccupied Orson Welles in his later work. It's a must for fans of the late artist and anyone interested in the cutting edge of documentaries.
Basically consisting of DeAntonio addressing the camera with a feisty recounting of his memoirs (coming off oddly like another late rebel, I. F. Stone), film moves beyond talking head format into other realms signaled by guest star John Cage. The avant-garde composer is a close friend of DeAntonio's and he's seen cooking in the kitchen and simultaneously discussing his methods of using random processes in his music.
DeAnonio takes this to heart with editing reminiscent not only of Cage's structuralism but also William Burroughs', as scenes alternate in clockwork yet seemingly random fashion. The director also keeps calling attention to the filmmaking process, and uses the whir of the camera motor as part of his method.
Aim is to debunk myths about FBI major domo J. Edgar Hoover and to fill in, often with rancor, blanks about this shadowy figure. DeAntonio talks with authority, but there is never any pretense about "documentary reality". It's a given this is one man's highly opinionated view of history.
DeAntonio used the Freedom of Information Act to get tons of government files about himself, but points out emphatically that this somewhat useful gimmick has an important loophole: many key documents are routinely suppressed (by clever misfiling) to circumvent the public's right to know. He discusses other cases, particularly the FBI's persecution and dirty tricks against the late Jean Seberg, to make his point. Film however, is mainly a personal history.
Made last year, much of the film's pronouncements not only ring true but have a prophetic value given subsequent world events. It also has a cutting to the heart of the matter quality, especially when DeAntonio discusses censorship in the land of the free as illustrated with his own works.
Emile DeAntonio's final film is a thought-provoking form of "meta-film", the type of rumination that preoccupied Orson Welles in his later work. It's a must for fans of the late artist and anyone interested in the cutting edge of documentaries.
Basically consisting of DeAntonio addressing the camera with a feisty recounting of his memoirs (coming off oddly like another late rebel, I. F. Stone), film moves beyond talking head format into other realms signaled by guest star John Cage. The avant-garde composer is a close friend of DeAntonio's and he's seen cooking in the kitchen and simultaneously discussing his methods of using random processes in his music.
DeAnonio takes this to heart with editing reminiscent not only of Cage's structuralism but also William Burroughs', as scenes alternate in clockwork yet seemingly random fashion. The director also keeps calling attention to the filmmaking process, and uses the whir of the camera motor as part of his method.
Aim is to debunk myths about FBI major domo J. Edgar Hoover and to fill in, often with rancor, blanks about this shadowy figure. DeAntonio talks with authority, but there is never any pretense about "documentary reality". It's a given this is one man's highly opinionated view of history.
DeAntonio used the Freedom of Information Act to get tons of government files about himself, but points out emphatically that this somewhat useful gimmick has an important loophole: many key documents are routinely suppressed (by clever misfiling) to circumvent the public's right to know. He discusses other cases, particularly the FBI's persecution and dirty tricks against the late Jean Seberg, to make his point. Film however, is mainly a personal history.
Made last year, much of the film's pronouncements not only ring true but have a prophetic value given subsequent world events. It also has a cutting to the heart of the matter quality, especially when DeAntonio discusses censorship in the land of the free as illustrated with his own works.
- lor_
- May 10, 2023