In an era when even the most established civic institutions live in precarious states, we can at least take comfort that a record of its functioning days has been made. Frederick Wiseman, the most accomplished chronicler of the day-to-day institutions of humanity at large and America in particular, left behind dozens of documentaries on public and private organizations. Wiseman used his own unique style of verité to give fly-on-the-wall views of the human systems in everywhere from high schools to hospitals to parks.
His seemingly hands-off approach hid the effort and thoughtfulness behind each of these documentaries. Wiseman eschewed many documentary conventions – no narrator giving context or commentary, no talking head interviews where characters explain themselves – and instead simply captured behind-the-scenes minutia. But his editing made sharp commentary out of objective shots. In his three-hour opus on the New York Public Library system Ex Libris, a juxtaposition of a Black community meeting in the Harlem branch with a presentation to a nearly all-white audience in the main branch tells a story in a single cut. The content of 1968’s High School ostensibly records the mundanity of the teenage scholastic experience, until a final speech about a student following military orders to the conflict in Viet Nam retroactively turns the previous hour into a gradually emerging warning about conformity.
His melodrama-free approach did not mean films free of drama or fascination. Quite the opposite, his massive assemblies (commonly running over three hours, especially in his later work) were almost always impossible to look away from, giving everyday places of civic service like Boston’s city hall or New York’s Central Park a captivation factor of aquariums and airports. Yet his camera was always pointed at the moments that were thoroughly, beautifully human.
If the world Wiseman captures feels perpetually in danger of disappearing – back room meetings of sweaty, serious adults trying to perpetuate the existence of their community is a common motif – his record of their days of smoother function only gain in value. If, God forbid, it becomes necessary to piece these institutions back together his eye and unparalleled thoroughness will become salvation for society. If we’re lucky, we’ll merely remember Wiseman as an extraordinary mind who served the cause of those who serve humanity’s causes.
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C. D. Ploughman
The weary Ploughman is a writer and filmmaker, focusing these days on documentary and educational projects. He obsesses over movies with his very patient wife and children.
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I’m really glad Wiseman merited the two in memoriams and that you had time to do a write-up in between doing the kind of work Wiseman could have chronicled. Beautiful, and the last paragraph of this is especially poignant, and it emphasizes all over again how necessary and unusual a filmmaker Wiseman was.
“back room meetings of sweaty, serious adults trying to perpetuate the existence of their community is a common motif” setting up “Wiseman as an extraordinary mind who served the cause of those who serve humanity’s causes” is so good. Even in my limited experience, it’s remarkable to see how much access Wiseman got, and I wonder if that was somehow tied to his seemingly less intrusive methods (I’m just here filming, don’t worry about interviews or questions or anything). He gets a lot of stuff that the adults don’t realize they’re revealing, but like you say, he’s also showing them in this room, trying to make something with their presence.