A Decade Under the Influence

I swore I would never allow myself to devolve into to the bogus authority figures of the sixties who told me things were better in the "good old days" – the current Australian Prime Minister is a sordid example of just such a mind set.

But I switched over to "A Decade Under the Influence" because I found watching the much-heralded "Sneakers" documentary on the other channel such a dispiriting experience. I found the values expressed by the "Sneakers" interviewees too ugly to accept as reasonable. So materialistic! So devoid of any sense of outrage at a society that can countenance killing someone to steal his very ugly shoes! So lacking in any worthwhile purpose that they can report without distaste the exploitation an audience by haranguing them to hold those shoes above their heads to lock in a sponsorship deal for themselves with a company of cobblers was just too much to continue watching.

"A Decade Under the Influence" depicted a completely different response to the fruit of stupidity, corruption and concupiscence in high (and low) places.

I have noted the change in film-making that accompanied the exposure of America's disastrous foreign policy debacles in Vietnam and so many less reported places in my www.peterhenderson.com.au website. "A Decade Under the Influence" documents the precise moment at which that change took place.

Before the seventies, the armed forces were depicted in American films as an invincible fighting force comprised of decent human beings who transmogrified into conquering heroes on the battlefield. After the seventies they are generally portrayed as a dispirited rabble misled by a bunch of bureaucrat clowns in the Pentagon Before the seventies, the FBI agent and the honest cop tended to be depicted as your friend and protector. After the seventies, the FBI agents were all incompetent and the best a cop could aspire to was to ignore their foolishness and his superior's corruption and uphold justice in his own idiosyncratic manner.

Before the seventies, the archetypical American "little guy", the "average Joe", the Jimmy Stewart type would face down the problems encountered and thereby gain some insight into underlying wisdom of his elected leaders and justice of the "American Way". After the seventies, Kevin Costner usurps that role, but now he is the voice of one crying out in the wilderness for evil to be exposed, or accepting his lot and making out the best he can.

And now those "old time religion" mindsets have been stripped of any honesty and righteousness and portrayed (with a certain amount of justification) as sanctimonious bigotry and self-serving hypocrisy.

"A Decade Under the Influence" tells it like it was. "A Decade Under the Influence" tells it like it is now. It depicts the redemption of the American film industry from the hands of the artistically, morally and intellectually bankrupt studio moguls. It shows the storming of the Hollywood Bastille by the independent film makers who promised to get a disillusioned and tired audience back into the cinemas. The fact that their failures were numerous, and at times disastrous, merely underlines the greatness of their achievement. An achievement reflected in the adventurous and questioning attitudes of the big box office stars such as Clooney, Daman, Affleck etc and the directors and producers who provide the vehicles for their talent.

When an artist, particularly a popular artist creates a work, it is not a matter of them creating something which we can then encounter or not. There is a constant collaboration back and forth, a synthesis of preconceptual stuff that is exchanged. The artist creates tentative forms that will be received by us and affect us, and to do that he has to enlist our help as cocreator.

It is a complex business and the rules are always changing. No one fully understands what is going on, so usually intuition is what everyone relies on. Movies are more complex than other art forms, and they are younger by a far stretch. No decent film theorist has yet emerged.

Even with the high cost of production, there is so much money in the game that there is lots of room for trial and error. And that's how things happen.

How quickly we forget that all of our celebrated filmmakers, especially those featured here, had some really, really big failures. And until these dogs were sent out, they thought they were as terrific as the things that we now endorse.

The point is that when it comes to explaining things, these might be the very last people to ask, and whose answers may be the least trustworthy.

Yes, it probably helps to know what Scorsese now thinks was in his mind when he did something thirty years ago. And it is useful to know some of the factual history about funding and who introduced whom.

But none of that gets us closer to understanding film in the 70s. No one knows what the stock market is doing, but everyone seems to have a plausible explanation afterward.

I know that Hopper and Schrader have more interesting opinions than expressed here — I've heard them. Those opinions are of the type I credit and have to do with constructed reality. But none of that will be found in this high school level discussion.

Look, these are professional storytellers. They've been explaining themselves all their lives, so they've constructed plausible stories about what happened and why. You can't see it here, but if you dig deeper into individual views, you'll find that each person's vision of the real world corresponds to that of the constructed worlds they create.

Scorsese believes the whole world is spun by personality. Schrader believes that drug-addled artists can stumble upon an accidental creation if their passion is great enough. Hopper's world is one in which a noir fate simply lays accidents of insight here and there, and so on.

Demme was the wrong man to ask these questions. Of major American filmmakers, only one has exhibited his independence from the internal/external trap: Woody Allen. When he does something like this, we should all listen. Meanwhile, stuff like this only confuses history and understanding.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

A surprisingly good documentary. My surprise was mainly due to the fact that I was confused by the title. I assumed this was about the influence of the drug culture on film making but no it is a much more far reaching and intelligent film than could have been expected. Demme has done a great job in encapsulating the period from the late 60s to the late 70s. From, 'Easy Rider' and the collapse of studio influence, through all those introspective 'real life' movies, where brilliant young directors tried to express themselves politically, sexually and artistically, through to the beginnings of the blockbuster and the return of the reigns to the money men and their studios. As someone who saw the 'real life' movies of Britain and the rest of Europe through the sixties and then the revolutionary US films of the 70s and is sad that the sequel to the sequel is so much the order of the day, this was a most fascinating film. The interview clips are measured (thanks to DVD the full interviews are available as extras!) and the film clips well considered. Also, as someone who has only just caught up with, 'Joe', I am impressed that this important little film gets its well deserved entry here.

In retrospect, the 1970s was a golden era for the American cinema, as demonstrated and explored by this documentary directed by Ted Demme and Richard LaGravenese. This IFC effort serves to illustrate and clarify the main idea of what that time meant for the careers of these illustrious people seen in the documentary.

The amazing body of work that remains, is a legacy to all the people involved in the art of making movies in that period. The decade was marked by the end of the Viet Nam war and the turbulent finale of those years of Jimmy Carter's presidency.

One thing comes out clear, films today don't measure against the movies that came out during that creative decade because the industry, as a whole, has changed dramatically. The big studios nowadays want to go to tame pictures that will be instant hits without any consideration to content, or integrity, as long as the bottom line shows millions of dollars in revenues.

The other thing that emerges after hearing some of America's best creative minds speak, is the importance of the independent film spirit because it is about the only thing that afford its creators great moral and artistic rewards.

This documentary is a must see for all movie fans.

The 1970s opened the door to the largest, most diverse era of film in its history. Some films were great ("The Godfather", "The Conversation", "Mean Streets", Chinatown", "The French Connection", "Five Easy Pieces", "Jaws", "McCabe And Mrs. Miller") Others were not so great ("The Getaway", "The Outfit", "Badge 373", "Joe", "The Taking Of Pelham One Two Three", "Brewster McCloud", "Castle Keep") And others were barely worth the price of admission.

Yet every one was a fresh breath of air compared to today's Corporate Hollywood. Where every film is given a Big Weekend to recoup its cost. Or go straight to HBO and rental.

What "Decade" does so well is to relate the sudden and rarely experienced sensation of freedom to be given money to make and direct a film. Perhaps personal. Perhaps not. Sometime with a clutch of extras. Sometimes, in the middle of a busy street before the cops show up. Long before the Corporate Overseers, Suits, Committees and Lawyers ever became part of "The System".

The commentaries are superb. Especially Julie Christie and Dennis Hopper. Though as you listen, you'll slowly discover just how many Big Directors today (Coppola, Scorsese, Ron Howard, Dennis Hopper, Peter Bogdonovitch) got stated as "Roger Corman Commandos". Working long hours with short pay. Shooting a film in under a month. Learning all the steps and tricks of the trade by doing it themselves. Turning in product that was on-time and under-budget.

See "Decade" for its message. And for a long and varied list of films to watch made through those wondrously turbulent years.

Though, I would not complain if IFC decided to devote another documentary solely to that most under-rated Grand Pioneer of film, Roger Corman.