By David Poland poland@moviecitynews.com
Emmy Noms: TV Docs, Directors to Watch
Looking around at the Emmy Award previews in Variety and elsewhere, I saw some familiar names in the directing categories.
First up: the nonfiction category. No surprise to see which network dominates the category: HBO devotes considerable support to the documentary form (though Cinemax, PBS and Showtime deserve praise for their doc series, too.)
If Spike Lee‘s shattering Hurricane Katrina epic WHEN THE LEVEES BROKE: A REQUIEM IN FOUR ACTS doesn’t win the award, I think you’ll hear shouts of protest. This is passionate, pointed filmmaking from a director working at the top of his form.
Troubled and angry times bring out the best in nonfiction films, so it’s right to see one of the finer Iraq docs, GHOSTS OF ABU GHRAIB, Rory Kennedy‘s examination into the lives and motives of the torturers and victims among US troops and personnel. (As strong as this doc is, PBS’ Frontline did a nearly identical doc on Abu Ghraib this past season, with many of the same interviewees.
The History Channel gets a nomination not for a battle doc the nostalgia of STAR WARS: A LEGACY REVEALED. Congratulations to Burns, who’s won for his Biography episodes, but come on. The slick Star Wars doc hit all the usual notes: Joseph Campbell, blah blah blah, and played like a promo for the DVD.
Most unusual among the nominees was an installment of Showtimes National Public Radio adaptation THIS AMERICAN LIFE, directed by Christopher Wilcha. A profile of a Mormon painter’s search for bearded Bible character lookalikes to pose for his photorealistic canvases, the doc used stunning Utah locations and evocative interviews with locals: Mormon believers (clean-shaven, obviously), bearded believers and unbelievers, and the girlfriend of the artist’s “Jesus,” a non religious New York woman who has found it difficult to live with a guy who looks like God’s gift. [That’s him in the illustration.]
Though “God’s Close-Up” is the shortest of the non-fiction entries, Wilcha weaves a thoughtful essay about the relationship between artist and model, and how subjects transform the viewer, and vice versa.
If the overwhelming political and artistic forces did not make Lee’s Katrina doc the deserving winner, I’d favor Wilcha and THIS AMERICAN LIFE. Showtime’s captivating series – once again, this is an audio-visual transformation of NPR’s radio series – don’t have current events, shock, or tragedy to draw in viewers. But somehow these minidocs, too, linger in the mind.