Beyond the Gaze: Jule Campbell's Swimsuit Issue

Some debates are, seemingly, doomed to go on without ultimate resolution. The question of female “objectification” versus “empowerment”—in both the general context and the specific context of the Sports Illustrated swimsuit issue—looks like one of those debates. This documentary makes some attempts at exploring the subject, with the usual nods to those who object to the various targets for criticism—the SI issue primary among them—as well as the standard declarations about agency and women in control and fighting against male domination…it all gets its piece of the action in this film. But given that the chief subject of the movie is the life and work of Jule Campbell, the woman primarily responsible for the iconic publication, you know going in which side of the debate the filmmakers are on, so you don’t expect to see anything that would convince you of the exploitation argument. Yet, the rationales presented by the empowerment side ring hollow and too self-contained here, as they always do. A complicating factor with this forum for the debate is that this movie is as much a biography of Campbell and her work as it is a history of the swimsuit issue’s concept and cultural impact. This means that there are many mitigating elements in the flow of the film’s narrative that focus much more on Campbell’s life arc, from working editor to elderly and fragile retiree, including many touching moments between her and her family, friends and the models she worked with, most of whom seem to have adored her. It’s hard to pass any significant judgments on larger issues when you wish to honor the personal story of such an individual. So there are few answers to be had here for any who wish to draw conclusions about the right and wrong of the issue (in multiple senses of that word). Personally, I grew up looking at the SI swimsuit issue, and I believe it is both an obvious bit of softcore and a perfectly reasonable part of the publishing industry. (Or it was before what one wag referred to as “the war on boners” started.) Puritanism is rarely an effective reaction to human animal realities, while babbling about how women feel about their presentation exclusive of the reactions to said presentation—as if it all happens in a vacuum where the titular male gaze never falls, or can be nullified by sheer will—is equally quixotic. Maybe, then, the personal thread in this doc is the true answer: just focus on an individual, or on all individuals, whatever their context, and perhaps you can and will do right by them. That would be a fine legacy for the now-departed Ms. Campbell (who passed in 2022), or for anyone else for that matter. Picture that, why not?

TFW NO GF

Honestly, I don’t know what to make of this film, or, perhaps more accurately, the phenomena covered in this film. A lot of what gets on the screen is no mystery to me; trust me, I know—if you’re not on the top of the hierarchical food chain, your life tends to suck and you find your mind going down into rabbit holes that don’t make you sound particularly smart or sane. But there are aspects of this exploration that are baffling to me, not the least of which is how any actual human can crave such shallow and empty activity as the online experiences that seem to be the formation and reinforcement mechanism for the state of mind that these young men find themselves in. Certainly, I get how the obvious happens—one of the featured subjects is fat, ugly and sort of intelligent enough to make him a prime candidate for this sort of abortive life—but a few of the other individuals featured here, while not exactly Hemsworth material, seem to be at least presentable enough that getting mired in such hopelessness comes across as an unlikely scenario. Has the segregation truly grown so ruthless that only the true, top-of-the-line winners in the genetic lottery can ever have any hope of living an acceptable life nowadays? Maybe, maybe not. This film seems, by its climax, to offer some suggestions that the featured subjects do eventually grow out of their despair and find some level of solace in their lives (not to mention meaningful human interaction). But if it has gotten this difficult now, what does an ever-more-so future hold for anyone not atop the totem pole? One shudders to think of it. Watch this one to get at least somewhat informed about one of society’s more disturbing trends—if you can stomach it. 

Helvetica

It is the greatest typeface ever created. Or it’s an abomination. Or maybe, you know, it’s just a bunch of letterforms and punctuation. The pendulum swings wildly on this subject, and, in this documentary, about the titular font family. I’m guessing that, for most people, a lot of the discussion in these interviews will fly over their heads.  Even for me—someone who has spent about 30 years involved in graphic design of one form or another—the points being made are somewhat on the esoteric side. But what really hits in this film is not the lionization of Helvetica as the universal typeface by many of the designers interviewed, but the expressions of antagonism from others who rebel against the corporate world’s favorite font and all it seemingly stands for. Rejection of the norm is always more interesting, to be sure, and I too in my meager way have often avoided using the face whenever possible—and yet, I must confess that many of the examples of more “expressive” designs shown here strike me as sloppy and obtuse, while the clean look of the now-classic font comes across as generally appealing. Your mileage will massively vary here, depending largely upon your grasp of or interest in the visual arts. If you’re the artsy type, pun intended, give this a look and see if you learn something. If not, then maybe you can skip it. And if you’re ever in doubt, just go with Helvetica and avoid using Futura. You’ll thank me later.

A Glitch in the Matrix

It is apparently possible that I did not really watch this documentary. It is apparently possible that I am not really writing this review. Therefore, I suppose it doesn’t really matter what I say in it. Which is good, because this investigation delves into some rather deep philosophical waters in which, frankly, I’m more inclined to drown than make any sort of truly cogent observations. Just taking in this as a movie, I can say that it is a fascinating study of the possibility of reality being nothing more (or less) than a simulation. The presentation, mostly conducted via interviews, holds the interest all the way through, even if the viewer cannot help but go occasionally into distraction over the fact that several of the interviewees are only represented as computer simulated avatars (and preposterous ones at that), though that winds up being just a minor problem. (Though one is inclined to question the thought processes of those who won’t show their “real” selves, even if they’re making a point about the primary argument.) I would not necessarily characterize the statements made herein as convincing; rather, I would call them intriguing and perspective-expanding about a subject that is, almost certainly and almost by definition, ultimately unknowable--at least within this life/existence/logon or whatever. One quibble may be that the discussion leans a bit too heavily on intellectual, internal examination without trying to bring in any external, tangible evidence (if tangible can even mean anything in this context). I know there are videos out there that purport to display "glitchy" weirdness in our reality, but few of them make an appearance in this presentation. (Maybe those vids are all bogus anyway.) All in all, this film offers quite the mind scramble, though, without some major crack in reality showing up in a timely fashion, the impact of all this philosophizing is likely to remain minimal. Apart from that, you do get to pat yourself on the back while watching this flick, for recognizing all the movies that get referenced in the discussion both verbally and in visual clips. Movies may really be the source of much of this speculation, in which case, for our peace of mind, maybe we should all just stop watching them and writing reviews of them. Movie? What movie? Review? What review?

Summer of Soul

Ironically, this film about the black Woodstock is not quite a parallel as the documentary about that more famous music festival. This film’s flaw, if it is that, is that it leaves you wanting more of the performances, rather than the mix of performances and interviews. But that’s hardly Questlove's or the producers’ fault, since most of what we see here from July of '69 is previously lost footage, scenes that have a found-object feel to them. You work with what you have—and in this case, what Q and crew had was a collection of remarkable performances and fascinating pieces of contextualizing views of the park, the crowd, and Harlem in general. The biggest takeaway from this work is the depiction of joy surrounding the music, and the performers and the community who forged such a meaningful connection through the event.

Harvard Beats Yale 29-29

An odd viewing experience. Not necessarily a bad experience, but strange in these days when the documentary film has been raised to a creative art form. The strongest impression that comes through watching this work, about a long ago football game, is that it was made by someone who knows nothing about football. Anyone who knows the game can predict, not long into the movie (which parallels commentary with actual footage of the game) how the outcome would be realized (gigantic hint: turnovers). That predictable quality dulls the presumed suspense of the titular contest, a spoiler that is only partly redeemed by the truly unusual events that brought the game to its conclusion. Beyond the record of the game, the doc in toto gives the viewer a fairly static presentation; there's little in the way of creative touches, and everything comes across as simply functional and minimalist. That comes across as weird now that viewers have gotten used to more flair in the way docs portray their subjects. Finally, the weirdest note of all: the rather cheeky title comes from a headline that appeared in the Harvard newspaper...which is never referenced once in the body of the documentary. (It only rates a mention in the closing credits.) The filmmaker makes a bigger deal of Doonesbury cartoons (featuring parodies of the Yale jocks, including quarterback Brian Dowling). Spin it all together, and the ultimate sense is one of someone who thinks this game and its story are important simply by virtue of what colleges were involved--and thus, there's no need to do anything to engage viewers beyond that. Sorry, Ivy--the real world doesn't work that way.

Good Hair

The indelible impression one takes away from Chris Rock’s exploration of the world of Black haircare is not the undeniable and overwhelming unfairness of the thing—it’s the relatively high spirits that everyone interviewed in the film has about the matter. And don’t make any mistake: Black people drew a very short straw when it comes to the nature of their hair, both in texture, appearance, and in just how much effort and money goes into making it acceptable, not just to themselves but to the wider world as well. And yet, Rock’s cast of interviewees, from Black female celebrities to top-end stylists to the common man and woman in the barber shop or salon, all seem to accept the fact of their lot in life with the kind of aplomb that one would never see from the average suburban white woman, who often shrieks bloody murder at the mildest inconvenience. You have to admire their resilience, and experiencing that is what makes watching this niche presentation accessible and entertaining for even the least-coiffed among us. Questionable hair, maybe, but good work for sure.

Gonzo: The Life and Work of Dr. Hunter S. Thompson

The most notable thing about this doc: its ham-handed use of music. The story of Hunter S. Thompson's life and work should certainly be more memorable than that, and that's hardly the full assessment here. Alex Gibney retells The Doctor's tale comprehensively, to be sure. Much of what has already been told, and will be familiar to any fan who has read most of Thompson's oeuvre, and in particular any of the works of biography that came out before this work (release date 2008), but it's always nice to go through a refresher once in a while, particularly for a writer as important as the subject here. The most essential takeaway from this examination comes, perhaps, from Thompson's ex-wife Sandy, who notes that Thompson's eventual departure prevented who knows what further impact he might have made. Certainly, Thompson in his prime could have made a difference, both against W. Bush and especially in today's America. One can only imagine what he would have made of, and done to, Donald Trump. Alas, we'll never know, because by the end the Dr. was just plain burned out on being Hunter S. Thompson, both the man and the myth. At least we have this work, and his writings, to keep that flame burning.

The Inventor: Out for Blood in Silicon Valley

"Cute blonde girl." I state those words here because, astoundingly, amazingly, no one ever speaks them during the full length of this movie--even though that phrase most perfectly summarizes the clearest answer to the question, how did all this happen? The Theranos/Elizabeth Holmes story is an archetypal example of the power of appearances, and (probably not incidentally) how much effort people make to avoid acknowledging that reality. The fact permeates every minute of screen time here, not least because documentarian Alex Gibney uses a tremendous amount of footage of Holmes herself in this presentation. One wonders how he got it--if he was using footage from his own interactions or else the by-product of an intended puff piece that blew up when everything went so far out of the purported genius' control. However it was acquired, the testimony provided by Holmes's presence here is quite effective in making the case against her, in tandem with the more direct accusations supplied by other interested parties. Apparently, a lot went wrong with what was supposed to be so right with Theranos: bad ideas from the start, mistaken mentality all along, as well as the problematic aegis provided by the usual-suspect rich sleazebags (this country's ruling class never seems to meet a grift it doesn't like). But this viewer simply kept returning to the obvious visual quality "the inventor" presented to the world, and how far she could go based largely on that and just a little bit more. If that's all it takes to destroy the careers and credibility of any number of people in this world--and there's plenty of reason, here and beyond, to believe so--then God or something help us all.

Raise Hell: The Life and Times of Molly Ivins

The thing speaks for itself--as did its subject. I feel sorry for those who did not get to enjoy Ivins' journalistic efforts firsthand; it was a joy to read her words and to know that there was at least one smart person out there. Alas, as with all things good in this world, Molly didn't last long enough--nor did she "win" in the end, either, insofar as her wisdom did not win out in the long run, and our political landscape is worse off for it. Not to mention, you know, all of us who now and in the future must live in the antithesis world embodied by George W. Bush--a particular target for Ivins' acid pen--and his successors. The fact that Bush lives on--as does the smoking rubble he and his ilk left behind--while Molly is only memorialized in this documentary adds a somber note to an otherwise celebratory viewing experience. But this show is worth the diluted joy. Take what you can get and give Molly and her work one more look, out of respect for one of the best.

Won't You Be My Neighbor?

I didn’t watch Mr. Rogers’ Neighborhood when I was a kid; maybe my life would be substantially better now if I had. Or maybe not. One of the intriguing aspects of this documentary is that it praises its subject, for sure, but also leaves just enough wiggle room in that appreciation that one can think that maybe the Sweatered One wasn’t necessarily all good in his impact. Surely, something made these recent generations of kids a little full of themselves, and it’s not inconceivable that hand puppets played a part. But that’s not the biggest takeaway from this portrait; the overarching theme here is, without question, Fred Rogers’ genuine decency, which led him to do best (as he saw it) with perhaps only minor missteps. Overall, this film is a laudable profile of a laudable man that elicits appreciation and occasionally touches the heart. Is that the entire big picture truth? Don’t know, but we don’t really live our lives at those deeper levels. Sometimes what we obviously think and feel is the thing that matters. So, perhaps, it is with this man, and with this work.

Icarus

Yes, this doc won the Oscar for the "real reel" category, and I'm not saying it isn't good. It is. The story is absorbing and convincing; you get a real sense that the Russians, from the top on down, have been up to no good for a long time. But...I have a suspicion that the award was awarded as much for the fact that this film makes a strong case for the evils of Vladimir Putin--which, apart from being factual, has become dogma for "resistance" types, especially deep left-wing Hollywood types--as for the actual quality of the film-making. Also, one seemingly important question was left unanswered: just why the hell did director Bryan Fogel get involved with this doping stuff in the first place? It seems like that was the focus of the effort in the first place, but that gets buried once the skull and dagger stuff starts about a third of the way into the film. There's something weird about it. Not necessarily something discrediting; just weird. So the cat gives this a qualified PURR, because it's certainly a film worth watching; I'm just not sure exactly what to make of it.

I Am Not Your Negro

Some voices cannot be silenced, by time or fashion or even through death. James Baldwin's analysis of the American condition remains powerful and important, and--as demonstrated by the seamless integration of today and yesterday displayed in this documentary--as timely as ever, even long after the author left this world thirty years ago. There's much here to think about, most assuredly for white American viewers, but also black Americans as well. It's hard to name someone who approaches the topic of race and American society today with the clarity, intellectual rigor, and convincing eloquence that Baldwin showed throughout his career; one walks away from this movie thinking that, if enough young black Americans could see this film and be inspired to follow in Baldwin's political, intellectual, and scholarly footsteps, they could be powerful weapons against the injustice that continues to plague this society. Not to be missed by anyone who wishes to recognize the uncomfortable truths about the U.S.A.

Where To Invade Next

A somewhat kinder, gentler Michael Moore. Not that Moore was kicking people in the dick as he built his career as filmdom’s foremost political muckrake--but there was always an angry edge to the geniality in his previous cinematic indictments (as he would probably admit himself). Here, though, Moore seems to have softened a bit; perhaps it’s because he’s looking for solutions rather than just exposing problems. It also probably helps that he’s talking to Europeans about their solutions; Moore usually reserves his harshest scolds for his fellow--but wrongheaded--Americans. There are the usual caveats here: Moore doesn’t ask enough questions, frames some ideas a bit too sunnily, assumes too much in the transferability of solutions from one situation to another; and, as always, be suspicious if he quotes statistics (Moore doesn’t seem to understand numbers very well). But it’s certainly worth everyone’s time to check out the ideas presented herein and contemplate how they might, just might, make a good nation even better.

Waiting for 'Superman'

I've seen better docs, but maybe none as important, certainly in terms of subject matter. This one makes a pretty good case regarding what can and should be done for our nation's schools, and the kids who attend them. The arguments are convincing, though they could use a little more depth. And the results of all the madness, when personalized on the screen for the viewer, can be downright heartbreaking. So brace yourself, take a look, and use it as a springboard for your thoughts on a most crucial subject.

Lost in La Mancha

This is interesting, if you are very much into movies and movie making, but I have trouble imagining your average person being interested in this. The story is compelling, especially in the midst of things going to hell (fighter jets, hail storm, an ailing actor), but some of the "crew argues amongst themselves" scenes can be hard to track in the larger scheme. If you're a Terry Gilliam fan (hand raised here), or, again, if you're an "inside" person when it comes to film, you might appreciate seeing how everything went horribly wrong on one particular shoot, it's worth a look. But I suspect most folks can comfortably let this one slide by.

This Film Is Not Yet Rated

Not a lot to say--the thing speaks for itself, as a documentary about the film ratings system should. Anyone who has even a passing interest in movies should see this, if only so folks can make up their own minds about the relationship between ratings and censorship. There's certainly enough evidence here to send that case to the jury.

Who Killed The Electric Car?

A fast-paced, gratifyingly straightforward documentary that doesn't fall into the trap of being too cutesy, too into itself, too convinced of its cleverness--a frequent failing of the genre lately. No, this one just gives you an effective--often devastating--presentation of its case: everyone's a little guilty here. It can be depressing to consider this story, but the film ends on an upbeat, positive note that tempers the despair and offers some direction for the future. A great effort, well worth seeing for the informed citizen.

Enron: The Smartest Guys In The Room

A film about monsters, plain and simple, one that will make you angry all over again. The filmmakers provide a comprehensive review of the crime of the early century, the scumbags who perpetrated it, and the damage it did. Watch this documentary, then remember it the next time some asshole starts telling tales about the "miracle of the marketplace."

Spellbound (2002)

A documentary about the national spelling bee, not Hitchcock's film. Multiple compelling individual stories come together to form an engrossing narrative, told without frills but nevertheless with plenty of drama and suspense. Viewers can't help but root for each child, regardless of the background and influences that bring them to the competition--an unexpected result, given the dangers inherent in stories of parents who push their kids. An insightful film.