BrettMorgen Tagged Articles at Cinematical

This list is harder to put together than it may seem, since one first needs to settle on a definition of "overlooked" and "indie." Nonetheless, I've endeavored to compile a set of seven small films, each of which had some manner of U.S. theatrical distribution, and each of which got less attention than it deserved -- or so I thought. None of these movies figures in the year's Oscar race, but they should be remembered for your DVD collection.

1. Boy A (John Crowley) - This is the movie Harvey Weinstein supposedly championed, though I suspect he only did it so that after it flopped he could point to it as an example of no one caring about whether his movies are any good. Whatever. Boy A is very, very close to being a great film, kept from the mantle by one too-on-the-nose plot thread that rears its head in the late going. Other than that it's a quiet, profound rumination on punishment, forgiveness, and our insistence on letting juvenile convictions haunt people for the rest of their lives. In a better world, Andrew Garfield would get an Oscar nomination for his heartbreaking performance. And the ending is a knock-out.

2. Transsiberian (Brad Anderson) - I don't think I saw a more effectively atmospheric movie this year -- no, not even Let the Right One In. The story is what it is (it's not too impressive), but the snowbound setting -- and the movie along with it -- constantly straddles the line between beauty and menace in a way that's truly gripping. I left the theater in a sad, unsettled funk, even though I get the sense that Anderson was going for breathless suspense. It's pitched as a thriller, and Anderson is a God among horror buffs after Session 9 (which I still haven't seen; it's creeping up my Netflix queue), but Transsiberian is beautiful and hypnotic above all else.

Director Brett Morgen doesn't make conventional, talking-head, "impartial" non-fiction films; he himself notes "I'm certainly more interested in creating modern-day mythologies than historical documentaries." After co-directing On the Ropes and The Kid Stays in the Picture, he next, ambitiously, decided to use state-of-the-art techniques to bring a 40-year old event to life in Chicago 10. Combining computer-animated footage and dramatic interpretations of court transcripts with footage and audio from 1968 -- some of it previously undiscovered -- Morgen's film audaciously animates and recreates the trial of activists Abbie Hoffman, Bobby Seale and others that followed in the wake of the protests they organized outside the Chicago Democratic Convention in 1968. Speaking with Cinematical from New York, Morgen talked about the level of digging required to unearth the unseen archival material he found, the differences he encountered between his actors who had done animation before and those who hadn't, what he learned about the '60s from making the films and much more: "This is a timeless story, that I think is relevant at any time -- and more relevant during wartime."


This interview, like all of Cinematical's podcast offerings, is now available through iTunes; if you'd like, you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:



For Cinematical's reviews of Chicago 10, you can find Christopher Campbell's take here and my review from Sundance 2007 here.

2008 is not this generation's 1968. Let's get that matter straight, right away. Even if we can draw some parallels or see some similarities between now and then, the truth is that it was a very tragic year, and despite our penchant to fetishize the period and wish that our time could be so important and powerful, we need to pray no politicians are assassinated this year (the fact that one particular candidate has been compared to both MLK and RFK is especially upsetting) and we need to be thankful that there is no draft. But mostly we need to just move on from the '60s already and stop attempting to appropriate its events in order to heighten the relevance of the 2000s. 2008 is indeed a significant year on its own, or it could be if we let it exist as such.

That said, Chicago 10, the latest documentary from Oscar-nominee Brett Morgen (On the Ropes) is literally about events of forty years ago, though the filmmaker claims it is a film about now. Okay, sure, there may be some relevant themes, but imprisoning your film with such definite statements of purpose makes it possibly less enjoyable to the people who are tired of these weak and easy-minded juxtapositions. Without acknowledging the obviously apparent intent, Chicago 10 is actually appreciable as one of the most creative and entertaining documentary films in years. And it could indeed be viewed as significant on its own, if we let it exist as such.

I guess that collectively we are not finished raking over the coals of the story of Kurt Cobain. Collider recently spoke with Chicago 10 director, Brett Morgen, and found out that up next will be a 'mixed-media' doc about the reluctant rock star. Morgen is best known for the Robert Evans doc, The Kid Stays in the Picture. His follow up was the counter-culture flick, Chicago 10, which premiered at Sundance in 2007 to some decidedly mixed reviews. Still, Morgen hasn't been swayed from his trademark style, and the Cobain film will make use of animation, video, and film. Morgen told Collider that the Cobain film would make use of Cobain's personal artifacts and archival footage of the band. More importantly for fans, the film will also include some rarely seen stop-motion animation that Cobain had created.

Morgen is planning on starting the film in the next few months, and has apparently gotten the 'all-clear' from Cobain's widow, the infamous Courtney Love. Morgen's film will mark the third documentary about Cobain in 10 years (1998's Kurt and Courtney, and 2006's Kurt Cobain: About a Son). It makes you wonder what could possibly be left to say about the 'Martyr of Grunge'? As Morgen sees it, "The reason Kurt still resonates all over the world-you go anywhere all over this planet and you'll find kids who have Kurt tattooed on their arms. It's because he spoke-he was able to articulate his experiences as an alienated, disenfranchised kid and that's why I think his music is still relevant today and resonates all over the world and I think we have to make the film that's in every one of those kid's heads that represents them." I can't help but think that maybe it's about time we let Cobain rest in peace, don't you?

[via First Showing]

There are two reasons I find this (as yet unconfirmed) story interesting. One is that I'll soon be writing my review of Brett Morgen's new documentary Chicago 10, which comes out next week. The other is that I've been thinking about the 2009 Oscars (I like to jump ahead), which I presumed would include a number of nominations for Steven Spielberg's next film. For a few months now, we've believed that film would be, like Morgen's, about the trial of the "Chicago 7" and would be fittingly titled The Trial of the Chicago 7. First we heard the director was interested in the script, written by Charlie Wilson's War scribe Aaron Sorkin. Then we got that crazy news that Sacha Baron Cohen would play Abbie Hoffman. Finally we heard more people, specifically Colin Hanks, Jeff Daniels and Philip Seymour Hoffman, were joining the cast. However, now we have word from Collider that Spielberg "has decided to move on and will not be making the movie."

Note: It has since come out that the film has been delayed, not completely dumped.

Animated movies still haven't fully made the transition from family oriented fare to a more "adult" state of mind. The New York Times profiled Brett Morgan's (The Kid Stays in The Picture) Chicago 10, an animated documentary that tells the story of the infamous 1969 trial of the Chicago Seven as possibly the next step in animated films.

In 1968, eight student protest leaders and counter-culture figures were charged with conspiracy to incite violence at the 1968 Democratic Convention. Originally, the group was comprised of eight defendants including Abbie Hoffman, Jerry Rubin and Black Panther Party activist Bobby Seale -- Seale's case was later separated from the group. It took two years and a series of appeals for the seven defendants to finally be found not guilty of the charges. Morgan's film uses motion capture animation to re-create the events of the trial. He says, "I didn't want the film to be a valentine to the '60s. I didn't want to see a bunch of old men talking about how vibrant they were in their youth -- they'd be looking at their grandfathers." Morgan worked with original trial transcripts for the film with voices provided by Mark Ruffalo, Hank Azaria, and Nick Nolte

The news is good for Morgan, because there is already speculation of a bidding war when the film opens up the Sundance Film Festival. Set for a 2007 release, we'll have to see if Morgen can successfully blend his style of flashy animation with political commentary.

Do we need another documentary about the 1968 Democratic National Convention? More importantly, after almost 40 years, do we need even one film about that turbulent week in August? The answer to both questions is, yes. The thing is, aside from Medium Cool, which is only part-documentary, I can't think of any docs that actually focus specifically on the convention and the infamous protests/riots that ensued in Chicago at the time (that doesn't mean there are none). And as far as the significance and relevancy of such a film, well, in my opinion it could serve us an inspiration for young people looking to take action in 2008.

Anyway, there is a new film about the DNC, and it is called Chicago 10. The doc, which was directed by Brett Morgen, has just been announced as the opening film for the 2007 Sundance Film Festival. It may seem strange for a nonfiction film to kickoff the fest, but it isn't the first time. In 2004, Stacy Peralta's Riding Giants was the opener.

Chicago 10 reportedly tells the story of the DNC protests thoroughly, including the courtroom trial of the "Chicago 7" a year later, using an innovative style combining animation, archival footage and interviews. The film will also feature music from the period as well as revolutionary music of today, which is likely meant to parallel the current political atmosphere with that of the late 1960s.

The rest of the Sundance line up will be announced after the Thanksgiving weekend.