“A rarity and a gem...Hollywood Elsewhere is the first thing I go to every morning.” —Ann Hornaday, Washington Post

Bias against Iraq War docs?

Posted by Jeffrey Wells on February 05, 2008 at 10:53 AM

For the last few weeks the conventional wisdom has been that the top two contenders for the Best Documentary Feature Oscar are probably Charles Ferguson's brilliantly analytical No End in Sight and Sean Fine and Andrea Nix's feel-good War/Dance. Last night, however, a friend told me about a fairly stupid-sounding statement from a person who belongs to the Academy's documentary branch. Or a statement, at least, that indicates a fairly unthoughtful Iraq War subject-matter bias.


This Academy person believes, I was told, that the three Iraq War-themed docs that are nominated -- No End in Sight, Richard Robbins' Operation Homecoming and Alex Gibney's Taxi to the Dark Side -- "basically cancel each other out."

The guy seems to be saying that they're all part of the same bowl of soup not just in terms of subject matter, but in terms of tone and viewpoint. He seems to be implying that all three are belly-aching about what a disaster the war has been and still is, and it's all the same blah-dee-blah and who needs it?

This attitude was recently echoed by Sundance programmer John Cooper in a 1.16 AFP story when he said that "cinema audiences are fatigued by the conflict...filmmakers haven't said all there is to say about the war in Iraq, but I think audiences are saturated."

Michael Tucker, co-director of Bullet-Proof Salesman, a doc about an Iraq War profiteer that will show at next month's South by Southwest, is understandably dismayed by such talk. "Alex Gibney's film is completely different from Charles Ferguson's movie, and yet to hear it from the Academy crowd it all comes down to subject," he says. "It's no secret that a lot of Iraq War films have sold very few tickets. Grace is Gone made 35 thousand dollars so the word has spread that Iraq movies are commercially unfashionable. But how can a war be out of fashion?"

Comments

I have only seen 2 of the nominated docs so far: No End In Sight and Sicko...Sicko is an overrated pile, but No End In Sight is excellent, and I am not of the Dem / lib / lefty persuasion at all...perhaps a back handed endorsement from me, but I hope it wins.

How can "audiences be saturated" when so few have gone to see these pictures? Saturated with what? Posters? Ads? Feature stories?

I think the general audience is sick of the war, period, and doesn't want any reminders of its continuing, troubling--but far away, not in my backyard--presence. And that is too bad. Whether or not you agree with its aims, it's happening, and it's not just going to go away. It's like a recurring toothache that bugs you, but not enough for you to go to the dentist, merely enough to hope that it will somehow take care of itself. NO END is an excellent corrective to this, and as the previous poster said speaks across party lines.

Did anyone else catch Jeffrey on "The Daily Show" last night??

Right behind Rob Reiner's big bald head!!

"But how can a war be out of fashion?"

There's something really callous about the frustration behind that statement. I wonder if some of these people looked at this war as their meal-ticket. Feel free to tell me I'm wrong and I should go fuck myself.

We are bored by Iraq. It's not a sexy war. There's no 14 year old Iraqi girls promising to "love you long time." There's no poetry to its desolate view. It's a wasteland that we don't want to spend too much time pondering for those of us lucky enough to not get shipped out.

You've seen Lawrence of Arabia, you've seen enough battles in the sand.

The Iraq War is an impossible "sell" as a movie. There are no glorious victories to be dramatized. There are no big-name heroes or heroines coming out of it, a la MacArthur or Patton, that merit epic biographical films (i.e. "Halle Berry is CONDOLEEZZA"). The human side of it so far is almost entirely downbeat: Mommy or Daddy came home missing an arm or leg, or with post-traumatic stress disorder -- or won't be back at all; marriages broken up because someone was shipped out and financial problems destroyed the family; Iraqi civilians accidentally caught in the crossfire; Americans watching the economy take a long, slow bath as inflation creeps upward, the dollar sinks and oil companies report record profits; tales of torture in foreign prisons, etc. The real story of the war lies in its anything-goes lack of planning, the daydreamy projections of the White House (remember when we were sure to be "hailed as liberators" and all that oil revenue from Iraq was going to easily pay all the bills?) and the string of lies, exaggerations and deceptions that have followed as those illusions fell apart. That material is covered perfectly in NO END IN SIGHT. Why don't audiences line up for LIONS FOR LAMBS, IN THE VALLEY OF ELAH and RENDITION? Because there was a lot of early support for the war and, now that reality has reared its ugly head and "Mission Accomplished" has turned into a punchline, no one wants to pay to sit through a two-hour lecture that basically says, "See? See?! We told you so."

Remember that, to qualify to vote in this category, the Academy voters will have had to sit through all 3 Iraq movies in a short period of time. As good as they are, and as varied as they might be, that is a cumulative effect very different than if they were spread out over 9 or 12 months. The thing about "cancelling" though is that 1 of the remaining 2 has to really deliver the goods, and I don't see either of the other 2 doing so. We'll see...

Post a Comment

Thanks for signing in, . Now you can comment. (sign out)

(If you haven't left a comment here before, you may need to be approved by the site owner before your comment will appear. Until then, it won't appear on the entry. Thanks for waiting.)


Remember me?



Last updated: October 3, 2007

                                       Obviously I'm light in several categories. 

                                      Suggestions and disputations are welcome.

 

BEST PICTUREAustralia (20th Century Fox), The Argentine (Focus Features), Guerilla (Focus Features), Milk (Focus Features), Seven Pounds (Sony), The Curious Case of Benjamin Button (Paramount/Warner Bros.), The Soloist (DreamWorks),  Body of Lies (Warner Bros.), Revolutionary Road (Paramount Vantage/DreamWorks), The Changeling (Universal Pictures),  Frost/Nixon (Universal), Doubt (Miramax), Blindness (Universal Pictures), Defiance (Paramount Vantage), The Duchess (Paramount Vantage), Valkyrie (MGM-UA), The Reader (Weinstein Co.)

BEST DIRECTOR: Fernando Meirelles (Blindness), David Fincher (The Curious Case of Benjamin Button), Ron Howard (Frost/Nixon), Brian Singer (Valkyrie), Baz Luhrmann (Australia), Steven Soderbergh (The Argentine and Guerilla), Gus Van Sant (Milk), Gabriele Muccino (Seven Pounds), Joe Wright (The Soloist), Ridley Scott (Body of Lies), Sam Mendes (Revolutionary Road), Clint Eastwood (Changeling), John Patrick Shanley (Doubt), Edward Zwick (Defiance), Saul Dibb (The Duchess), Stephen Daldry (The Reader)

BEST ACTOR: Leonardo DiCaprio (Revolutionary Road), Brad Pitt (The Curious Case of Benjamin Button), Ralph Fiennes (The Duchess), Hugh Jackman (Australia), Tom Cruise (Valkyrie), Harrison Ford (Crossing Over), Sean Penn (Milk), James Franco (Pineapple Express), Philip Seymour Hoffman (Synecdoche, New York), Heath Ledger (Dark Knight), Will Smith (Seven Pounds), Jamie Foxx (The Soloist)

BEST ACTRESS: Kate Winslet (Revolutionary Road), Angelina Jolie (Changeling), Keira Knightley (The Duchess), Nicole Kidman (Australia)

BEST SUPPORTING ACTOR: Leiv Schreiber (Defiance), Frank Langella (Frost/Nixon), John Malkovich (Changeling and Burn After Reading), Bill Nighy (Valkyrie), Robert Downey Jr. (The Soloist), Robert Downey Jr. (Tropic thunder), James Franco (The Pineapple Express), Alan Alda (Nothing But the Truth)

BEST SUPPORTING ACTRESS: Meryl Streep (Doubt), Amy Adams (Doubt), Vera Farmiga (Nothing But the Truth)

BEST ANIMATED FEATURE: Dr. Seuss' Horton Hears a Who (20th Century Fox)

BEST ORIGINAL SCREENPLAY: Charlie Kaufman (Synecdoche, New York)

BEST ADAPTED SCREENPLAY: Peter Straughan (How to Lose Friends and Alienate People)

SPECIAL EFFECTSIron Man, Indiana Jones and the Kingdom of the Crystal Skull

 


Discland
edited by Jonathan Doyle
Mafioso (The Criterion Collection, 3.18.2008) Nino Badalamenti is a supervisor in a car manufacturing plant who hasn't taken a vacation in over two years. On his way out the door to visit his beloved childhood hometown of Sicily -- with his blonde wife and daughters -- Nino is handed a package by his boss and asked to deliver it to a powerful and influential Sicilian gangster named Don Vincenzo. Once in Sicily, Nino has a hoot seeing friends and family, but his wife has trouble fitting in and is unfairly dismissed as a snob by Nino's family. Even more worrisome, Nino finds himself entangled in an intricate web of secret mafioso dealings and is eventually sent on an unexpectedly... elaborate errand. (continued)


American Express


Inside Elsewhere...

The Barenaked Critic

Michelle discovers a couple of comedy films thanks to the power of Netflix.

The Silver Spotlight

Adam joins the Elsewhere crew from the Windy City and hits the ground running this week.

Upcoming


July 2

Hancock

July 3

The Whackness

July 4

Diminished Capacity

Gonzo: The Life and Work of Hunter S. Thompson

Holding Trevor

Kabluey

We are Together

July 9

Full Battle Rattle

July 11

A Man Named Pearl

August

Eight Miles High

Garden Party

Harold

Hellboy II: The Golden Army

Journey to the Center of the Earth

Meet Dave

Roman Polanski: Wanted and Desired

The Stone Angel

July 18

A Very British Gangster

Before I Forget

The Dark Knight

The Doorman

Felon

Lou Reed's Berlin

Mad Detective

Mamma Mia!

Space Chimps

Take

Transsiberian

July 22

Two Tickets to Paradise

July 23

Boy A