Enron: The Smartest Guys in the Room

I didn't follow the Enron disaster too closely. It was a busy time in my life, and I was concentrating on keeping my family afloat. I did, however, have a general understanding of the magnitude of the crimes committed by the top echelon of Enron's leadership and a general feeling that they were getting off a lot lighter than the poor schlub who steals $20 from the local 7-11. I never really bothered to go back and look into the story until a trusted cousin of mine (an executive, himself)) strongly recommended that I give this movie a look.

Wow. What a shocking, well-made movie. As it turns out, the criminals at Enron weren't just the top three or four guys. There was widespread criminality throughout the company's trading floor, an entire corporate culture of "me first and screw the country" at work there. _Enron: The Smartest Guys in the Room_ takes inside the company through interviews and archival footage, and it raises real questions about how to balance the freedoms necessary for capitalism to work while ensuring that those involved in the actual workings of capitalism stay on the straight and narrow.

Sure, the movie spends some unnecessary time on the salacious. Did I really need to know about one exec's stripper fetish, complete with gratuitous nudie footage? I mean, c'mon - I was watching this movie in an airport lounge! Nevertheless, _Enron: The Smartest Guys in the Room_ entertains and compels. It is one fine documentary.

The Corporation

THE CORPORATION is, indeed, a film by true believers for true believers. The problem is, I'm not entirely sure what these true believers believe in.

THE CORPORATION asks the question, "If a corporation is a legal person, what kind of person would it be?" The answer: "A psychopath." And, y'know, that's fine. State your thesis, make your argument, and have at you. But the movie's all over the place. One moment it's on about corporations in particular, then capitalism in general, then American consumer culture, then environmentalism, et cetera ad infitum. For authorities, the film gives us people like Michael Moore and Noam Chomsky, which sends a very clear message to the observer: if you don't trust these guys, this film isn't even trying to talk to you.

As a film, THE CORPORATION is basically a power point presentation with moving slides. The problem is, these visuals add nothing to the presentation, instead merely giving us something to look at while people read to us. If the purpose of this documentary is to inform or persuade, it succeeds only in boring the skeptical audience and leaving that audiencee unmoved. While watching THE CORPORATION, I felt like turning it off and just finding the bulletized summary somewhere on the Internet. It would have served the same purpose and saved me some time (But hey, I saw it on the Metro, and it's not like I had anything else to do.).

Had I done so, however, I'm still not sure I would have reaped a clear picture of where THE CORPORATION is coming from. What does it want? A global economy run by the same people who run the DMV? A transition to the pastoral existence of urban fantasy? Just to hit all the right talking points so maybe it can score with that cute hippie chick?

I don't know and, frankly, I don't care. THE CORPORATION fails as an invective, it fails as an entertainment, it fails as a film. This one is for punch-drinkers only.

Grizzly Man

I'm trying to decide whether GRIZZLY MAN is a very good movie or a downright brilliant one.

The photography alone is very good; Herzog's calling our attention to the photography is brilliant. The insights into Timothy Treadwell are very good; Herzog's editing of Treadwell's soliloquoys is brilliant. The film's balancing on the thin line between fascination and morbid voyeurism is very good; Herzog's occasional steps across the line are brilliant.

GRIZZLY MAN is a collaboration between Herzog and a dead man, a dead man who left hundreds of hours of (mostly self-shot) footage behind. Timothy Treadwell, Herzog's collaborator and the titular Grizzly Man, is disturbed, sympathetic, angry, profoundly innocent, and absolutely in love with Nature. Treadwell's the kind of guy who would've loved MARCH OF THE PENGUINS. He anthropomorphizes bears, foxes, even Alaska, seeming to believe that if he just loves them enough, they'll love him back. But bears are bears and nature doesn't love him back. It's a lesson Herzog understands but Treadwell may never have learned.

GRIZZLY MAN'S power comes from the juxtaposition of Treadwell's innocence, Herzog's wisdom, and the stupendous beauty of Alaska and the grizzlies Treadwell was foolish enough to try to befriend. Because Treadwell was a fool, he shot footage of these bears unlike anything I've ever seen. He got right up next to them. He talked to them, scolded them, even swam with them. He seemed to make something of a pet of a local fox. He lived his dream, right up until he (and his apprehensive girlfriend) died in a grizzly's hungry maw. Amazingly, Treadwell's camera was running (lens cap on) at the time of his death, and Herzog shot some oblique footage of himself listening to the couple's final minutes. In the end, Herzog doesn't share those minutes with us. Instead, he advises the keeper of the tape to destroy it, as it's simply to horrible to own. It's better to remember Treadwell as he was: innocent, foolish, and enveloped in beauty.

And it's that beauty I'll remember long after I've forgotten Treadwell's name. Thank you for a brilliant movie, gentlemen.

An Inconvenient Truth

If you like watching people preach to the converted, you'll love AN INCONVENIENT TRUTH. Al Gore, at his pedantic, self-satisfied best, delivers his well-honed global warming presentation to an audience that hangs on his every word. Gore's presentation combines data, images, and even a Matt Groening video in its efforts to convince -well, by the looks of things, people who need no convincing. He uses straw man arguments to dismiss "critics" (You can practically see the quotation marks he puts around the word.), he milks the current administration for easy laughs (not that that's hard to do), and he generally plays to his base.

This is fine, particularly if you're his base, but then the movie can't help but get us into Gore's personal life, or at least whichever aspects of his personal life he chooses to exploit for the purposes of the film. There are plenty of shots of Apple board member Gore working with determination at his Apple computer, looking pensively into his Apple computer, and just generally promoting the Apple brand. There's Gore sitting down with "cutting edge," as he describes them, (fully vetted) representatives of the PRC, home of some of the world's most polluted cities, talking about their solutions. There's Gore navigating the backstage labyrinth, causing me to hope, for just a moment, that he'd stop and ask someone for directions. Oh, it was horrible.

If I had to boil AN INCONVENIENT TRUTH down to just one word, that word would be "Insufferable." I went into this movie feeling neutral about Gore and generally sympathetic toward his cause. I came out of it actively disliking the man and neutral toward his cause. This film's success is a mystery to me.

Seven Up / 7 Plus Seven

With the highly lauded release of the latest iteration in Michael Apted's "Up" series, 49 UP, generating attention around the world, I figured it was time that I invested some hours into this remarkable project.

SEVEN UP and 7 PLUS SEVEN represent the first two editions in the documentary series that revisits a group of British kids at regular intervals and monitors their progress. These first two documentary films were not, sadly, particularly interesting. (This just in: bright-eyed children often turn into sullen adolescents.) While watching them, I felt like I was laying the groundwork for the good things that are heralded to come: kind of like plowing through the first several chapters of a Victorian novel in the knowledge that things will speed up and come together as the story goes on.

So ... not an auspicious beginning to the series, but I have high hopes. We'll see what 21 UP has to tell us.

The Wild Parrots of Telegraph Hill

It's virtually impossible to get my child to sit still for a documentary, but he sat still for THE WILD PARROTS OF TELEGRAPH HILL. There's something fascinating about a guy whose entire life revolves around these little, displaced creatures.

PARROTS is about a flock of birds that somehow got loose in San Francisco and have managed to create a self-sustaining, er, flock in an environment that many folks think is too inhospitable for them. It's also about the guy who cares for them, sort've an SF version of The Dude who, almost by accident, has turned himself into one of the world's authorities on parrot behavior. You see, explains an ornithologist at the San Francisco Zoo, it's virtually impossible to observe parrots in the jungle, so The SF Dude is in a unique position to add to the world's body of knowledge on this particular subject.

It's interesting stuff, and it doesn't fall prey to the temptation to anthropomorphize the birds. They are what they are, and the SF Dude appreciates them for that. Through him, we come to do the same. It worked for my boy, and it worked for me.