The Smartest Guys in the Room (Alex Gibney), Waltz with Bashir (Ari Folman). The leadership of Enron came from some of the most prestigious universities in the world and had one thing in common an incredibly high degree of ambition and a The script must be for a film that's at least 40 minutes in length. Once the worlds most innovative company for six years running and boasting 100 billion in revenue during the year 2000, Enron appeared to be a corporation at the dawn of a new generation of firms built on innovation, technology, and an ambition to be the smartest guys in the room. But the firm's argument ignores the big picture: Andersen knowingly helped present to the world, as described by Bethany McLean and Peter Elkind in The Smartest Guys in the Room, a 'completely illusory picture of Enron's financial health.' Securities analysts who covered Enron also failed to do their job they failed to analyze.How many documentary filmmakers does it take to screw in a light bulb?A.MOVIE TITLE:Enron: The Smartest Guys in the Room (2005)B.PRINCIPAL CAST AND CHARACTERS PORTRATED Peter Coyote- narrator Bethany McLean- Fortunereporter.
![]() Along came a producer a lot like Andrea (Meditch, who had just walked the audience through a “doc whispering” of the recent Buck). It had been cut and it was pretty much ready to go and it was a pretty dry film about mercury poisoning. It’s about dolphin slaughter. The story, basically a romance between a boy and girl, is good enough, but it’s a bit saccharine for my taste. Boyle has a very kinetic filmmaking style, and he depicts the slums of Mumbai with dizzying force, beautiful handheld digital camera work, fast-paced editing, and lively music.The acting, some of it by kids from the slums themselves, is also good. The film is, in my opinion, quite good. This fiction film was a huge box-office hit in 2008, and the winner of the Oscar for Best Picture. And, at the same time, it was very entertaining.The best way for me to illustrate this transformation and integration of documentaries as a form of entertainment is to look at three films, each with differing degrees of entertainment value and social significance, but all about the same subject: Danny Boyle and co-director Loveleen Tandan’s Slumdog Millionaire, Louis Malle’s Calcutta and Ross Kauffman and Zana Briski’s Born into Brothels.Let’s start with Slumdog Millionaire. Enron The Smartest Guys In The Room Transcript Series For TheI’d imagine if you were seeing these images for the first time — lepers and slums and a cremation — as most people were back then, it could be pretty riveting. Malle had made a multi-part series for the BBC, but he cut his material together to make this theatrically-released film. Still, it’s immensely entertaining, and we are exposed to the grim reality of life in India, of the power of human spirit, and the power of love.Second, there’s Louis Malle’s Calcutta, a 1969 documentary that is little more than the raw footage of the everyday lives of the poor people of Calcutta. It just feels too pat and Hollywood for my taste. ![]() But it’s important to remember that it isn’t at all a form of direct cinema — It’s very much about the filmmakers impact on them, especially Briski’s. It’s very sentimental, but it’s also very real — You get to know these kids and care for them. She and Kauffman shot a film that tells the story of these kids, and Briski’s attempt to help them avoid their terrible fate. Briski had gone into the slums to photograph the people there, and became close with the children. Here’s a documentary that told the story of the children who are raised in the brothel slums of Calcutta. Dawn treader bookstore ann arborThis is an enhanced truth. And, although it’s true that it’s totally created by the filmmakers, to me, that’s not the case. Here’s the clip:I think someone who is suspicious of the notion of documentaries as a form of entertainment might respond to this by saying that the filmmakers created this moment for plot points, and to give audiences a lift and then to bring them down. You see this when the filmmakers take the kids to the ocean, something they would never have done on their own. Wahl dog clipper blade sizes chartAnd that’s where we’re at with docs these days, with filmmakers creating nonfiction works that are entertaining because they are both diverting and engaging.Get more documentary film news and features: Subscribe to POV’s documentary blog, like POV on Facebook or follow us on Twitter Archived in Tom Roston's Doc Soup and tagged albert maysles, Andrea Meditch, based on a true story conference, Betsy Sharkey, Born Into Brothels, Brad Prager, Buck, Calcutta, capturing the friedmans, Control Room, Crumb, danny boyle, Enron: The Smartest Guys in the Room, entertainment, errol morris, fahrenheit 9/11, Fisher Stevens, grizzly man, hoop dreams, Los Angeles Times, Louis Malle, Loveleen Tandan, Man on Wire, michael moore, Nanook of the North, Project Nim, roger and me, Ross Kauffman, slumdog millionaire, Spellbound, The Bourne Identity, The Cove, The Kid Stays in the Picture, the september issue, Thin Blue Line, True/False Film Fest, truthiness, Undefeated, University of Missouri, Winged Migration, Zana Briski. When documentarians can use the technology and skills that we normally associate with artists — with the ability to craft narratives and shoot cinematically compelling images — and use those skills in a real-life setting to tell important, real-life stories, then we’ve entered a highly evolved realm. And then we see what deplorable conditions they live in, so we see how that joy is taken away from them.To me, this is an example of highly evolved filmmaking.
0 Comments
Leave a Reply. |
AuthorBrittney ArchivesCategories |