Friday 18 September 2009 - Watching a Nation Fall Apart, Entertainingly
TORONTO — “America unraveling in different ways.” That’s how Thom Powers, the documentary programmer for the Toronto International Film Festival, put it. It was Tuesday night, six days into the 34th edition of this annual cinematic convocation, and Mr. Powers had just bluntly identified a trend that had become apparent from my sampling of more than two dozen fiction and nonfiction movies laden with doomsday predictions, conspiracy theories (and facts), grim statistics, alarming charts, dire projections and shrieking, whimpering and failing men and women.During its 10 days, this sprawling, homey event takes over Toronto, attracting locals as well as journalists and industry insiders from around the world. This is where professional festivalgoers catch up on films they missed at Cannes and Venice and preview scores of other new titles. It’s where George Clooney (here with “Up in the Air” and “The Men Who Stare at Goats”) and Oprah Winfrey (fronting for the Sundance hit “Precious: Based on the Novel ‘Push’ by Sapphire”) sell the celebrity goods, giving journalists 10 minutes of face time and sidelined fans high-wattage smiles. It’s also where Werner Herzog unveiled one of the best movies of his career (“Bad Lieutenant: Port of Call New Orleans”) and one of the worst (“My Son, My Son, What Have Ye Done?”).
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Trying to locate an overarching theme in a festival as large as Toronto — this year, there are 335 movies from 65 countries — is usually either an exercise in futility or a critical contrivance. Even so, Mr. Powers had acknowledged something that was difficult to avoid and not just among the documentaries: along with the rest of the world, filmmakers are casting a hard, sober, often alarmed eye at the United States. These days even a documentary about bees and beekeeping skews apocalyptic: witness “Colony,” an examination of what’s been labeled colony collapse disorder, the mysterious phenomenon that has, over the past few frightening years, wiped out about a third of the American honeybee population.
Backed with Irish money (we liked it, a producer explained), “Colony” was jointly directed by Carter Gunn (the American who edited it) and Ross McDonnell (the Irishman who shot its pretty digital images). Working under the obvious influence of Errol Morris — notable in their attention to beauty, interview style and even pacing — they shift seamlessly from macroimages of the swarming bees to close-ups of their fretting keepers who are struggling with the devastation, including one large California family that is unwisely compared to a hive. Although they could have dug deeper and incorporated more of a global perspective (colony collapse disorder reaches to Europe), their movie constitutes a satisfying addition to the blooming, buzzing field of social issue documentary.
Rather less happy is Michael Moore’s latest, “Capitalism: A Love Story,” a soft look at our hard times that I will have more to say about next Wednesday when it opens in New York and Los Angeles. Off screen, at least, Mr. Moore was in fine form at his premiere Sunday night, fielding softballs from the volubly adoring audience and joking about the less welcome critical reception he expects back home. He also introduced some striking steelworkers and reminded Mr. Powers to tell us that “Capitalism” is eligible for an award from Cadillac, a festival sponsor. (Cadillac, of course, is owned by General Motors, whose former chief executive Roger Smith was the subject of Mr. Moore’s “Roger & Me.”) I kept wondering how the award fits in with GM’s restructuring plan.
More bad news was delivered in the far more elegantly structured if not unproblematic documentary “Collapse,” from Chris Smith. An American who occasionally delves into fiction (“The Pool” and so forth), Mr. Smith trains his intelligent, focused attention on just one man in this compelling curiosity: Michael C. Ruppert, who discourses or, more precisely, disgorges, on everything from the intrigues of Dick Cheney to the dangers of corn. In a different age Mr. Ruppert, a chain smoker with the crumpled face and wary gaze of the cop he once was, might have alarmed and entertained from the Speakers’ Corner in Hyde Park in London, famed for prophets and fools. Now he spreads the gloom via (of course) his blog fromthewilderness.com.
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For much of “Collapse” Mr. Ruppert sits in a wooden chair in an anonymous brick-face room and talks and talks and talks, very much a man cinematically and existentially alone. He derives much of his information from news reports, which he combs through to uncover what he believes to be the truth. Although some of what he says sounds reasonable (his harangue about declining petroleum reserves, for one), I wish Mr. Smith, who never appears on screen but whose presence is felt in all his filmmaking choices, had approached his subject more aggressively. In 2002, for example, The Nation published a long article about Sept. 11 conspiracy theorists that discounted Mr. Ruppert’s more far-out claims, including the government’s putative involvement in that catastrophe.
As in any large festival, the fiction titles ranged far and wide across genres and themes, with a familiar smattering of downer dramas and melancholic melodramas. (I’m dysfunctional, you’re dysfunctional, we’re all dysfunctional!) In “Love and Other Impossible Pursuits” Don Roos attempts, with mixed results, to show what a real family looks like, much as he did in the more successful “Happy Endings.” Although he tries hard to create a sense of actual if cosseted Manhattan life — gustily insisting for instance that his star Natalie Portman, as a grieving mother, remain unlikable — Mr. Roos overworks his material into a sudsy pulp. Most of the characters might be in need of therapy, but Mr. Roos’s screenplay has already been therapeuticized, with every angle, emotion, feeling spelled out.
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