Usually,
there's a fine line between a fiction film and a documentary
film. Of course there is - fiction is fiction and a documentary
is real. But then we get a movie like Medium Cool (1968),
which is neither one or the other. It sounds fascinating,
and it is, although the movie itself is not a full-fledged
success. Sometimes I was intrigued, while sometimes.... I
was kind of bored.
The time is 1968. The country is in turmoil, as civil rights
actions, the assassinations of Martin Luther King, JFK, and
Robert Kennedy, and the Vietnam War are at the forefront of
the nation's problems. And, of course, the TV cameras are
there, covering all of these important events, as well as
all of those trivialities, such as car crashes and the like.
This is the story of one of those carrying the camera, a man
played by Robert Forester, who in the very first shot, films
the aftermath of a single vehicle accident before he even
gets around to phoning an ambulance. This guy, like possibly
a lot of TV guys, is very detached from his work, more concerned
with getting the perfect shot than with feeling for the camera's
subjects, and there is a long scene involving him and other
players in the TV world who justify their work.
During
the first half of the film, Forester's character just goes
through the motions, having an affair with a nurse, and basically
not giving much of a damn. One day, however, he sees a kid
whom he thinks is vandalizing his car. He tries to catch the
kid, but only retrieves the kid's basket, which contains a
homing pigeon; the kid was trying to get it to fly. Forester
returns the basket to the kid, and in the process meets his
mother, played by Verna Bloom. A short, polite meeting, but
later on, he happens to meet the mother again, and the two
begin a relationship. Unlike the relationship with the nurse,
however, this relationship involves a completely different
set of issues; the mother and the kid are from the country,
and the mother moved into the city only to discover that there
are little opportunities for her. She is a teacher, but her
experiences in one-room schools are of no use here in the
city school system, and she and the son now live in the lower-class
part of town. The movie clearly attempts to create a contrast
between the scenes with Forester and the nurse (their only
major scenes involve a trip to the roller derby, and a couple
of sex scenes), and with Forester and the teacher. The nurse
is an accessory, the teacher is someone who can enlighten
Forester.
Subtly,
the movie switches gears in general due to this new relationship;
he becomes aware of the people behind the stories he's covering.
During this time, he reports on a black cab driver questioned
by authorities after he retrieves 10,000 dollars from his
cab; the implication is that the cops will find any excuse
to suspect a black man, even if he has in fact committed a
good deed. The cameraman tries to follow up on the story by
visiting his apartment, but instead he finds himself surrounded
by the man's friends; some try to prod him to interview them,
while others are suspicious, wondering why a white guy would
want to interview a black man, unless he is really from the
police. Eventually, he does record the other black people
in the apartment, who discuss how things really are between
blacks and whites. Forester wants to use this material, but
is fired from the station due to its belief that he wastes
his time on stories that aren't newsworthy. He's without a
job, but then suddenly he is working again when he is part
of a crew (and apparently the same crew he worked with before
his job loss) working at the Democratic Convention in Chicago
(the film doesn't exactly elaborate on how he manages to get
his job back).
The
high point, absolutely, is the final fifteen to twenty minutes.
As Forester covers the Convention, Bloom's character searches
for her son, who for some reason hasn't returned home. She
walks through the city, and in the process walks into a demonstration
and an actual riot. Not a staged recreation; the actual riot
which took place during the Conventions. It is a genuinely
surreal sight to see an actor, in character, wander through
groups of police, hippies, protestors, and assorted troublemakers
(including one sequence where she walks alongside the group,
the lone passive amongst a group of genuine activists). The
fourth wall is constantly broken here; many protesters raise
their signs for the benefit of Wexler's camera, and, most
memorably, when police start discharging the tear gas, the
camera lingers until we hear a voice off-camera saying, "Get
out of the way, Haskell, this is real!". And during a
particularly violent scuffle between hundreds of protesters
and police, just as the actress finds herself amongst screaming
protestors and park benches being tipped over and piled on
top of one another, Wexler tries to get everything while hoping
to leave the scene intact. I wonder if perhaps the suits at
Paramount were sweating bullets at the prospect of the cast
and crew risking life and limb (or at least limb) just to
make a damn movie.
Of
course, while the riot is obviously the real thing, Wexler
counted on such an event occurring, since events in both real
life and in the film were building up to this point, and the
director was basically waiting for the moment when it would
all explode into something. It's not as if they were shooting
some pretty scene in the park, and then suddenly a politically
motivated riot broke out! Wexler wants to make a statement
about how it is impossible, indeed unjustified, for us, as
with Forester's character, to ignore the social crisis facing
America ("The whole world is watching!!"); the heavily
pretentious final shots try to beat those ideas into us. In
the year 2001, this doesn't quite work, but that's to be expected.
The
major problem with this film, strangely enough, is the fact
that scenes such as this occur in the film. Obviously, when
you are dealing with real life as it is happening, you can't
exactly push the narrative along to your liking, and for a
long time, we are interested in this sequence, just as if
we were watching it on CNN or some other channel, and forget
that there is supposed to be a story here. In actuality, the
story is not put together very well, since the final scene
and many others function like part of a documentary, while
the fictional scenes merely hold everything together. The
acting from the two leads is nothing special. There really
isn't much of a focus. The only truly interesting parts of
the film are the scenes that either are or appear to be spontaneous
and unscripted. As well, the direction is persuasive; the
camera flows just like it would in a documentary. Camera angles,
zooms, and other technical effects are used very well; they
capture or accentuate certain things in the background or
narrative which conventional (read, films made before the
late 60's) techniques would have ignored or not have been
aware of. Perhaps it might have been much better if Wexler
went ahead and did an actual documentary about the issues
which may have played a part in those riots. Here, however,
even though Medium Cool is a cinematic landmark and of much
historical significance, the whole does not equal the sum
of its parts.
David
Macdonald
David
Macdonald's Movie Reviews
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