Posted in: Blu-ray, by Sean Axmaker, Contributors, Documentary, DVD, Film Reviews, Silent Cinema

Blu-ray: The silent south seas of ‘Moana’ and ‘Tabu’ restored with sound

MoanaMoana with Sound (Kino Classics, Blu-ray, DVD) – After creating what (in retrospect) is generally considered the first documentary feature, Nanook of the North, in the snows of northern Canada, filmmaker Robert Flaherty traveled to the South Seas island of Savai’i to create a similar production around the Polynesian natives. Like Nanook, Moana (1926) is not a true documentary record but a recreation of a long lost culture for the cameras created in collaboration with locals, who draw from their own historical memory. And it was the film that inspired the term “documentary,” which film critic (and later documentary producer) John Grierson coined while reviewing the film.

Moana is a poetic portrait of Polynesian life as an South Seas paradise, the opposite of Nanook, where the Inuit people fight to survive the harshness of the elements. The pace of life is easy and gentle in the Pacific sun, food plentiful in the sea and growing all around them, just waiting for anyone—even a child—to pluck the coconuts off the trees. Hunting and gathering is akin to play in this culture that was, again as in Nanook, long lost by the time Flaherty put his camera on these people. His filmmaking reflects the theme, each scene taking its time to play out, not to record every detail of finding fresh water in a branch, climbing a palm tree with a simple woven band wrapped around the ankles, or hunting a wild boar (the only real threat to human life on the island), but to appreciate the grace with which these activities are accomplished. The gentleness of the filmmaking—which was as painstakingly created for the camera as any Hollywood drama—creates a lovely, luscious film, a great leap forward in Flaherty’s cinematic talent.

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Posted in: by Sean Axmaker, Contributors, Documentary, Essays

Cinéma Vérité: The Movement of Truth

The birth of documentary filmmaking is the birth of cinema. The very first films were documents of people, places, and events, whether scientific studies or the moving picture’s answer to the still life painting. And ever since, documentary has always struggled with the challenge to present “truth” on film.

But of course there is no direct pipeline to truth and no film portrait is unmediated. From the beginning, the very choice of what to shoot, where to point the camera, which action to follow, and when to cut, not to mention the decisions that go into the editing process and sound mixing, imposes a vision on a film no matter what the intention.

Cinéma vérité (“truthful cinema”) was born in the late 1950s and early 1960s, developed independently in multiple countries as a response to the conventions of the documentary tradition. In France, where the term cinéma vérité was born, it developed amidst the energy and experimentation of the French New Wave (“nouvelle vague”) from the likes of Chris Marker and Jean Rouch. In the U.S., it was called Direct Cinema, a movement led by Richard Leacock, D.A. Pennebaker, and Albert and David Maysles. And in Britain, Lindsay Anderson (see more on him in UK TV feature below), Karel Reisz, and Tony Richardson spearheaded the Free Cinema movement.

All of these filmmakers reacted against the traditional approaches of non-fiction filmmaking — the formal structure, the talking heads interviews, the omniscient narrator framing the information, the dry, dull quality of so many documentaries — and encouraged a more direct engagement between filmmaker and subject. Technological advances produced lighter 16mm cameras and portable sound recording equipment, which gave filmmakers greater freedom and independence. It also allowed for greater flexibility and spontaneity on location and a more intimate connection with the subjects.

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