|
|
Errol is notable for presenting documentary subjects in a very dynamic manner. If you're looking for ways to broaden the spectrum, he's a good place to start. Intriguingly, he seems to take a lot of cues from films about insects; many of his lighting and camera inspirations appear to originate in that milieu. He's also completely insane, which makes everything more interesting.
Speaking of insects, I'll throw in The Hellstrom Chronicle, a bit of a mockumentary with stunning insect footage. The idea behind the film is that insects will rule us and the world if we don't stop them - think Microcosmos meets The Tenant. Very entertaining, but not the most useful reference.
The Maysles have been mentioned, but Utopia's mention of "direct cinema" doesn't really do them justice. Think documentary work as inspired by the French New Wave. It seems obvious, but then realize that documentaries had either been:
a) fluff/newsreel pieces
b) comissioned with a bias
c) staged to some extent (see 'travelogues')
and the Maysles' work gets more interesting. (That list generalizes, I know, but it's close to the truth.) They're not without their share of critics - Grey Gardens had some aiming at the Maysles for 'exploiting' the Beales. The question is certainly open for discussion, despite the fact that the Beales were fully complicit and aware, though their mental stability comes into question...
The point is that the Maysles got very close to their subjects, and in doing so removed a lot of the old journalistic barriers, but created new questions in terms of the documentarian's relation to subject. Good films all round, though - the three Utopia mentioned are essential and out in very nice Criterion DVD (region-free!) editions. I'd extend MW's comments about Salesman to say that it was a direct inspiration to Mamet, and that several sections of Glengarry Glenross were lifted srtaight from the Maysles.
And directly influenced by the Maysles are Berlinger and Sinofsky. Yes, that Berlinger who did the second Blair Witch film. Too bad. But their docs are great, particularly Brother's Keeper, with Paradise Lost a strong second. Both of those films take the Maysles' approach and apply it to the intersection of public life and the American judicial system. Rough going at times, but stunning and revelatory, even if there is more of a bias than ever displayed by the restrained Maysles. |
|
|