User reviews

On August 1, 1966, a sniper climbed to the observation deck of the clock tower at the University of Texas - Austin. From there, he randomly shot and killed fourteen people and injured thirty-two others. The story is retold in this film which is mostly a documentary but also a drama where some events are re-enacted in rotoscopic animation.

The shooting spree lasted about an hour and a half which is close to the length of this movie. As events seem to be happening in real time, this film succeeds in having the effect of a thriller - at least to those of us who did not know the final outcome of the tragedy.

Director Keith Maitland has made some unique choices that pay off fabulously. The available footage is compelling; the use of animation to continue the story (where footage is not available) is also very effective.

This movie is more powerful than most documentaries in that it places viewers in the moral dilemma of some of the bystanders: what does one do upon seeing someone wounded who is in clear view from the tower? While helping is the right thing to do, how does one do so without risking getting shot?

Once the main narrative of the event is complete, the post-script takes on a life of its own. It includes interviews with some of the survivors, police officers, and observers including archived interviews of those who have died since the event. This satisfies a curiosity especially when they speak openly of the traumatic memories followed by a healing process.

Maitland has deliberately excluded much information about the assassin with an exception being a photo which generates many mixed feelings. The inclusion of a commentary by the revered Walter Cronkite is also very well chosen especially considering the many mass shootings that have happened in the half-century since. This is a superior documentary. - dbamateurcritic

At the onset, it might seem insensitive to tell the story of a deadly mass shooting using rotoscope animation, but after you settle into the style of filmmaker Keith Maitland's "Tower," you realize how useful (and even powerful) a tool animation can be to tell a story that largely exists in fragments of witnesses' memories.

Maitland pieces together the horrifying 90 minutes on a sweltering summer day — August 1, 1966 — when a lone sniper essentially took the University of Texas at Austin campus hostage from the top of the campus clocktower, killing 16 people and wounding more than 40. With only testimonials and scarce video, audio, photos and news media coverage of the event at his disposal, Maitland mostly turns to animation to fill the gaps and relate what actually happened as completely as possible. The finished product is as close to a moment by moment account of the shooting — from the perspective of those who lived through it and were closest to the action — as possible.

Most filmmakers would shy away from a subject like this. There's not much to work with, it could feel too exploitative of people's trauma and live action reenactments of what happened would come across as inauthentic if not comical. But the rotoscoping effect, and Maitland's choice to animate his subjects as they looked in 1966, casting actors to play them in animated reenactments and to read their testimonials with younger voices, addresses all these concerns. It's as if Maitland dips part of the documentary in fiction just so that it can all come together more cohesively. Instead of cutting frequently between the real and the reenacted, he blends to the two.

This also turns "Tower" into a captivating, pulse-pounding retelling of events, almost as if it were a feature film. For those unfamiliar with story, it's all the more engrossing, and kind of jaw-dropping when you consider that it all actually happened. Adults young and old today have no shortage of mass shootings to draw from in their minds, but few lasted 90 terrifying minutes like the UT-Austin tower shooting. That makes it all the more important to create the vivid account we get in "Tower." What the witnesses and survivors experienced doesn't deserve to be reduced.

As has been the case with most media accounts of mass shootings, the focus always turns first to the shooter — who could be so evil and/or disturbed to take human lives this way? This was especially the case in this shooting; the attention was turned to the perpetrator and not the victims (and heroes) by magazines and broadcast media, some of which we see in the film. "Tower" almost entirely ignores who Charles Witman was and instead gives the narrative of events back to these victims and heroes. Maitland wants to honor their experiences and dig deeper into how they remember and process trauma instead of heaping attention on the selfish individual responsible for it all.

Again, it might seem like rotoscoping would work counter to this objective by obscuring the film's subjects in portraying them as "cartoons" with professional actors' voices, yet Maitland navigates that creatively as well and shows us that authenticity doesn't only come from the way someone looks or sounds, but that their "voice" is their story. The rotoscoping actually forces us to focus on their story and only their story. It allows us to live in those moments, rather than the person's recollection of those moments.

"Tower" stands out as a piece of creative, resourceful documentary filmmaking, one that allows the director to tell a complete story from disjointed pieces, and an absolutely gripping story at that. You might argue that this method and style allows Maitland to exert a bit too much of his own influence over the film, but his creative license largely comes in the form of accents that honor rather than exaggerate the stories of his subjects. Regardless, "Tower" raises the bar for how documentary stories can be told.

~Steven C

Thanks for reading! Visit Movie Muse Reviews for more

The first time I heard of mass-murderer Charles Whitman was, quite stupidly, via the Vietnam movie "Full Metal Jacket"; - namely when R. Lee Emrey's drill-instructor character asks his recruits if anyone knows he was. "He's the guy who shot all those people from in a tower", was the answer. Strangely enough, it got me fascinated and I wanted to learn more about the dramatic shooting, as it is undoubtedly one of the darkest and most depressing pages in recent American history.

Two great films were previously based on or inspired by the shooting, namely "Targets" (1968) and "The Deadly Tower" (1975), but they simply cannot be compared to this "Tower". First, the films focus on the sniper - Whitman - whereas the documentary revolves exclusively around the victims, bystanders and heroes of the tragedy. And then, of course, this is a genuine documentary with archive footage and recordings, interviews with actual survivors, and careful reconstructions of the facts.

The obvious aspect to be astonished about in Keith Maitland's film is the original, refreshing and meticulously detailed animation. It's clever and professional, and it makes the already very impactful tragedy even more powerful and intense. Furthermore, it's featuring magnificent contemporary music. The parts revolving around poor Claire Wilson are the most harrowing, evidently, as she's 8 months pregnant, shot, and lying on burning hot concrete with her dead boyfriend next to her. But there are also hopeful messages, like of people overcoming their fear just to help other human beings in peril, even if they are complete strangers. A uniquely beautiful film about a sad and ugly event.

This film is really an extraordinary achievement, in both the animation genre and the documentary genre. This could have been just like many other documentaries where talking heads are intercut with archival footage. By using animation, the film is able to create re- enactments that play around with memory and affective experience in a way that wouldn't be able to be done without animation. It's able to be a clear documentary while still telling a cohesive, linear narrative with many main characters and different perspectives at its core. This deserves to be seen and widely acclaimed, its achievement in not just how much of an emotional impact it has but also in various aspects of filmmaking are enough to recommend this to fans of quality cinema.

I cried three or four times, maybe five times while watching Tower.

Told with a combination of still photos, grainy 8mm film footage from the incident itself, and rotoscopic animation, it begins in the middle, with the radio announcement some tens of minutes into the incident, lingering only briefly to set the mood.

Then it switches to Claire talking about just before things started happening. The actress playing Claire is rotoscoped, which is an animation technique that looks both real and animated at the same time, because it's like tracing over the actual images. It's a good technique for this type of documentary, because at once it distances you from the actor, yet brings you closer to the person the actor is portraying, and of the age they were when the events took place.

In this way the actors explain things using the words of the real person who was being interviewed, and they also appear as characters in the re-enactment of the events. Because it's rotoscopy, the emotions of the actors carry over and you're able to relate to their feelings. The rotoscopy also enables the director to place people in the Mall without them actually being there, so there was no need to clear the Mall or to ask for permission to film. And it allows for a special touch when Claire tells of her fiancé.

Claire Wilson is the anchor of the story, having been the first one known shot, and also having been 8 months pregnant at the time. She lay out on the concrete of the Mall in front of the tower for over an hour in the August heat, her dead fiancé beside her, helped only by Rita Starpattern, who ran out to help despite the continued sniping.

Other main stories are of the two policemen who killed the sniper, a citizen who helped them, another policeman who went to help at the top of the tower, a freshman with his own story of heroism, a paperboy who was shot, the radio announcer who narrated and warned of the events, and a young woman who only watched.

Rita Starpattern appears only through Claire's narrative, because she died of cancer before anyone interviewed her. Some of the others had been interviewed before they died, and a few more, including Claire, were interviewed for the documentary.

The last part of the film is inter cut with the interviews of the real people whose avatars have been narrating the action. By saying Claire is the anchor, I don't mean to discount the contributions of the others, most of whom performed heroically in a desperate situation.

The sound of the movie is evocative, with music from the time, announcements on the radio, the cicadas of Summer, and of course the incessant gunfire.

I saw the film at the Dallas International Film Festival, so the director was there to answer questions at the end. Answers I recall were that the sniper, who does not appear in the film, made a midnight call on his music teacher, saying that he was very upset and needed to talk. He sat down at the piano and played Claire de Lune, and then said that was what he needed, and left.

Another was that Rita Starpattern never spoke of her actions that day. He said many people in Austin, where she had lived, gasped when they saw her name.

One man in the audience said he knew the sniper's CO in the Marines, who said that the sniper was very much into his role as a killer, and looked forward to being able to kill people legally.

It's odd to think of something that happened in one's own lifetime as a period piece, but younger viewers will understand more of what life was like before ubiquitous global communication. After the shooting, everyone involved lost contact with each other, something unimaginable today. A local radio announcer was the sole contact for news, and also served to warn people about what was going on. At least there were home phones, radio, TV, and 8mm cameras, so I guess it wasn't that primitive.

SPOILER: Tower received huge ovations and overwhelming support in its world premiere at the SXSW Film Festival in Austin. It has already won the grand jury award for best documentary. This is powerful spectacular film that brings back the most traumatic event in the history of this city when a gun man from the UT-Austin's iconic tower committed mass murder on sunny day in August. The film was made to mark the upcoming 50th anniversary of the one of the earliest and one of the worst mass school shootings in American history. It will be released widely on PBS's Independent Lens later this year and possibly in theaters as well. There are still many folks in Austin who remember that day. The filmmaker made the brilliant choice to combine original news coverage with animation so as to recreate the tragic events nearly perfectly (without having to actually film people shooting on the UT- Austin campus). They use actor's voice to recreate the events which are based on interviews with many of the original participants (victims, police, witnesses). Very little is said about the gun man.

For those of us came to the Forty Acres (UT-Austin campus) years later, there is an eerie feeling in just watching the events play out at the center of campus where we know every building, every column, every statue like our own homes. The film is haunting and spellbinding. I really couldn't look away. Afterwards, many of the still living original participants who were portrayed in the film were present on the stage. The moving presence was Clare Wilson, the woman who was 8-month pregnant, and lost her baby and her boyfriend that day.

Tower remains mostly non-political as the film is mostly just a recreating of horror of August 1, 1966. Towards the end, it does speak to the current politics of the issue – particularly the Texas campus carry. That law is scheduled to take effect at 4-year universities in Texas on the 50th anniversary on August 1, 2016 – supposedly by coincidence. Those current day politics have become an unavoidable epilogue that have forced themselves into the debate. That will also be the day when they are planning to unveil an official memorial to the victims on the UT campus. This is a difficult film to watch, but it must be seen, because the history remains completely relevant today.

...other than I lived in Austin for 25 years.. but starting in the 90s. I've been on that mall on a hot August day, heard the locust, felt the heat coming off the pave, and recognized every bit of scenery. I've heard the story time and time again, and watching Tower I cried about 5 min in, and continued to do so until the credits rolled. The animation brought the bits and pieces of a splintered story into a very cohesive and powerful movie.

TOWER is an important movie for all the right reasons. It is an artistic feast; a cinematic marvel that recreates a tragedy with a simple beauty without falling into the tropes of documentary filmmaking. This is not a documentary, rather it's more of a non-fiction retelling that casts actors to read lines in place of the real people. It recounts a school shooting that happened long before memories of Columbine - on a sprawling Texas campus where a sniper took a town hostage and murdered a total of 17 victims (including an unborn child) and shooting a total of 49 people. In a time when mass shootings have become a standard scroll on the nightly news, this was a new kind of crime. It only seems fitting that the movie uses a new form of craft to tell it.

It was the summer of 1966 on the sweltering campus of the University of Texas at Austin. Summer courses were just beginning, and the college town surrounding the buildings were bustling with excited youth and students. It was just after noon. From nowhere, people recall hearing "pops" and suddenly the air was filled with targeted bullets, first striking down a pregnant woman and her boyfriend in the stone plaza outside the central clock tower. Soon after, a boy on his bike was shot several blocks away. Chaos ensued.

On a day when the top news was going to be little more than the heat, here was suddenly a national emergency that gripped the country. A local news director hopped in his car and broadcast the scene from a portable radio. His voice was heard all over America. From the clock tower, the rumors that a sniper was preying on those below with no regard and no sense. Why don't more people talk about this tragedy today?

The film is designed to be a documentary (although I would argue it doesn't fall into that specific genre for a variety of reasons) with talking heads of students and police officers explaining what happened. We know they are actors, and their accounts strike us as surprisingly modern in expression and tone. The rotoscoped faces keep the past at a safe distance, and it's almost easy for the audience to distance themselves from the horror that actually happened here. Through black and white recreations and grainy archival footage, the film crafts a landscape of southern comfort and familiarity with those living nearby.

There is a moment like a bombshell midway through the film, when we suddenly cut from the illustrated actor to an actual aged woman, continuing her story without a moment's hesitation. This woman (now in her 60's or so) is one of the survivors: the woman who lost her unborn child at the hand of the gunman. It's a revelation - splicing the animation with the real, creating a moment that is all the more impactful by bridging that historical and visual gap. Now we understand that these actors are not reading from a script... They are telling the actual words by those who survived it.

There are beautiful moments that are beyond words - like when a red-headed woman rushed to the aid of this pregnant woman even though she remained completely vulnerable to the shooter. They begin a conversation to keep their minds off the terror and carnage. Another moment when a couple of students act heroically in order to save victims from the slow death that awaited them. They run out in the face of danger and carry victims to safety. This was a time that separated the heroes amongst us, and there were unbelievably brave people that were caught in the midst of it all.

By the end, "Tower" became a movie that commented on the string of recent shootings, the prevalence of violence in our culture, our unwillingness to stop it... There have been several movies made about the ideas of school violence and mass shootings. I recently re-watched "Elephant" which is a great Gus Van Sant film that recreates a Columbine-like shooting and yet does nothing to answer the simple question of "why?" "Tower" is great not because deals with the same question, rather it adds to it: why can't we stop this from happening?

This unusual film demonstrated an innovative way to fill in the gaps of a major news event where there are still survivors alive to share their memories but where there's a lack of available archive footage to fully tell the story. The event here was as I understand it, the first, but as we now know, far from last occasion when a warped individual exercised their constitutional right to bear arms by massacring innocent civilians in cold blood. On this occasion, ex-Marine Charles Whitman killed his mother and pregnant wife before taking to the tower at Texas University to rain down murder and mayhem onto whoever came into his eye-line.

I can recall the excellent debut feature of Peter Bogdanovich "Targets" made in 1968 which made this then very recent story its backdrop, albeit with different names for the principal characters. The ambition of this feature however was to take us through the actual 96 minutes of the onslaught almost in real time by recreating the memories of the survivors, some since deceased, in vivid animation sequences. I doubt it's coincidence that the film's running time is the selfsame 96 minutes. Actors resembling the real life characters play the latter's younger selves in both telling the story as it occurred in pieces-to-camera as well as in physical recreations of the events of the day as it unfolded. There is no third party commentary at all and at the end we get to see the witnesses in the present day, to give the film, as well as themselves perhaps, a sense of closure.

The animation takes a little getting used to initially but is skilfully done in a near-lifelike manner which gradually draws the viewer into the action. Again I applaud the modern trend of giving next to nothing by way of background or motive and therefore importance far less justification to the perpetrator of these awful killings. Instead the focus is, as it should be, on the remarkable courage of everyday individuals, from the young cop who goes to the crime scene even when off-duty, the shopkeeper who ends up on the tower with the policeman, rifle-in-hand, to the young students who run in full view of the shooter, one young girl to comfort a wounded pregnant young woman, lying prone next to her fatally shot boyfriend and a couple of boys who actually lift her out of harm's way.

One wonders if the filmmakers here will go on to use a similar technique on other in-living-memory calamitous events but one suspects it will more likely prove a one-off exercise. I do believe though that the director's primary motivation was to re-tell a remarkable, if tragic, story rather than demonstrate flashy technique. If occasionally there are mistakes in the pacing as sequences are unnecessarily run and re-run for no apparent reason and also no real political point is made about gun-control itself, still the narrative is compelling as only a true-life disaster can be.

In his powerful and beautifully realized documentary, Keith Matiland's ("A Song for You: The Austin City Limits Story") Tower movingly recreates the shock and heartbreak of the random shooting of 49 people at the University of Texas in the summer of 1966. The attack was the first mass shooting at any school in the U.S, but sadly, it was not to be the last. With seven guns and over 700 rounds of ammunition, 25-year-old Charles Whitman, a troubled ex-marine who had already murdered his mother and his wife, opened fire at 11:48 a.m., and kept firing round after round for one hour and 36 minutes before being shot and killed by police officers. When the carnage had stopped, there were 16 dead and 33 injured. It was a tragedy that those involved were never able to forget, though many tried to suppress its awful memories.

Using the technique known as rotoscoping, Maitland interweaves the animated recreations with archival footage, interviews culled from Pamela Colloff's 1996 Texas Monthly article "96 Minutes," and real-life images of the victims both at the time of the tragedy and as they are today, talking about the events 50-years ago. With devastating intensity, we become witness to the tragedy as it unfolds minute–by-minute, hour-by-hour, allowing us to be present to the impact on the victims and those who risked their lives to save them. The film builds up tension from the opening sequence as reporter Neal Spelce (Monty Muir, "Slacker 2011") is seen driving towards the campus, warning everyone to stay away from the University area because a sniper is "firing at will."

The first victims are Claire Wilson James (Violett Beane, "Slash"), a pregnant 18-year-old freshman walking to class with her boyfriend Tom Eckman (Cole Bee Wilson) after a coffee break. As the horrific sounds of the shots ring out, both are hit and fall to the ground, depicted in almost dreamlike fashion as white silhouettes falling against a background of bright red. The camera stays with the pregnant Claire who remains conscious while lying on the concrete in 100 degree heat, the unmoving body of her boyfriend lying next to her. Miraculously, another student Rita Starpattern (Josephine McAdam, "The Honor Farm") risks her life to keep Claire alive by lying next to her and engaging her in conversation. Rita's heroic efforts continue until the wounded girl is rescued by John (Artly) Fox (Seamus Bolivar-Ochoa), a student who, along with a friend, risks gunfire to carry Claire to safety.

The tragedy mercifully comes to an end when officers Ramiro Martinez (Louie Arnette, "Light From the Darkroom"), Houston McCoy (Blair Jackson, "Varsity Blood"), and the deputized Allen Crum (Chris Doubek, "Boyhood"), ascend to the observation desk to subdue Whitman while dodging bullets from well-meaning amateur gun owners on the ground firing up to the tower. Some of the most moving scenes of the film occur near the end when Maitland interweaves actual footage of the survivors as they reflect on the tragedy. In addition to Claire, interviewed are Aleck Hernandez, Jr., a teenager delivering newspapers on his bicycle with his cousin when he was shot, Brenda Bell, a student who observed the shootings from afar, and Allen Crum, the bookstore manager who helped subdue the shooter.

Crum, Martinez, and McCoy talk about whether or not they could have gone up to the tower sooner and Claire introduces us to the Ethiopian boy she adopted (she also sponsored 26 of his family members to come to the U.S.), though admitting she still dreams about reuniting with the child she lost in the killings. As some witnesses break down in tears, it is clear that the trauma associated with the events of 1966 has not disappeared, though some are talking about them for the first time. Though Tower never becomes overtly political or uses the incident to advocate for gun control, Maitland's reminder of the subsequent mass killings at Columbine, Newtown, Colorado Springs, San Bernardino and too many others say all that needs to be said.

I was looking forward to this film as its premise seemed pretty interesting. While I didn't like it as much as I thought I would, I still enjoyed my time with it and I may watch it again someday.

Interestingly enough, this film doesn't show much of the shooter. Save for a few shots, you only see his gun firing from above. The focus is instead on the victims and the survivors of the shooting. Some of the perspectives include a pregnant woman who was shot and left to bleed out on the pavement throughout the shooting, a newspaper delivery boy who was wounded by the sniper, a man who sent out radio broadcasts about the shooting as it went on, and a few people who attempted to get to the top of the tower to stop the shooter. I enjoyed these stories and, while I found some of them more interesting than others, they all had something to offer. Some of the concluding statements from the survivors at the end, in particular, were quite powerful. Also, in terms of pacing, this documentary is an easy watch as its 82 minute runtime goes by fairly quickly.

While watching this film, I was reminded of "Waltz With Bashir", another animated documentary I've seen. I found the animation in that film thematically appropriate as the somewhat distant feel the animation brought to the film was all at the heart of the main protagonist's inability to remember his role in the Lebanon War. The animation in this film, by comparison, didn't feel as necessary to the film as it did in "Waltz With Bashir" and, as a result, I didn't feel the same connection towards it. Now, don't get me wrong. The animation was still a unique directorial choice, so to a degree, I appreciated the approach. However, inserting a couple live action clips into the first couple acts, showing some animated people or objects moving across a live action background in a few scenes, or slowly relying more and more on live action in the final act left me emotionally cold and unable to determine what the significance of all those transitions were. It might have been better to utilize live action only in the final act as opposed to sporadically throughout the first hour.

In some respects, I was left cold by certain parts of this film, but to another degree, the perspectives of the people involved in the shooting resonated with me quite a bit, so overall, I thought this documentary was good.

I'm a grad student at UT Austin. I went on the Tower Tour last week - on the very observation deck from where the sniper shot. The tour guides aren't supposed to make the tour about the shooting story, so they didn't go into it, but they told us about the documentary.

It's a mix of archival footage and animation. The animation recreates the shooting. And it was riveting. It's probably riveting for anyone to watch, but watching a horror story unfold in so familiar a location - one that's part of my daily life - is something else altogether.

Maybe I'll take a different route tomorrow, or maybe I'll figure out a way to put this story out of my mind. Also, it was August 1st just yesterday. 52 years to the date.

FYI there is heavy security at the tower these days. You have to pass through a metal detector and everything to go on the tour.

I have been a reader of true crime going back to 1981 beginning with Ann Rule's "The Stranger Beside Me." I was, therefore, familiar with Charles Whitman's shooting spree at the University of Texas in Austin on August 1, 1966. Writer-director Keith Maitland uses real archival footage with animation to show the bloodshed from the victims perspective. Even after fifty years, the story still resonates as the first of the many mass killings in the United States. The heroes are many, from a few people who risked their live to rescue a pregnant woman to the police officers who finally took Whitman down, this is one of the best animated films that I have ever seen. My one small criticism is not including more material on Charles Whitman's background as a marine and former alter boy from a typical all American family. No one can really know the private demons within Whitman, but I would have appreciated a more deep analysis of the killer. Even with that drawback, The Tower is well worth your time.

In 1966 in Austin, Texas, a lone sniper occupied a tower on the University of Texas and began to randomly fire at people. Forty-nine were shot and sixteen killed. The documentary recreates the events of that day, using a combination of news footage and high level animation. It uses the words of the victims to recreate the events of that day. There was one woman in particular who is focused on. She was pregnant and lay on the concrete next to her dead boyfriend. It took a brave woman, risking her life, and a young man and his friend who didn't even know her, to risk their lives, for her to survive. The strength is in the tight storytelling. I was a freshman in college, just like many of the young people who were shot and the student population in general. I remember watching a common TV in the student union. We were totally wrapped up in these events. But I have to admit that until I saw that this video existed, I had forgotten this even took place.

Greetings again from the darkness. The numbers are etched in memory. August 1, 1966. The 27th floor. 16 dead. 32 wounded. 8 months pregnant. 96 minutes. But thanks to director Keith Maitland, the story he tells is what lies behind those numbers … the innocent people involved that tragic day almost 50 years ago on the campus of the University of Texas at Austin.

A beautifully creative approach blends archival news footage, on-site live radio reports, amateur photography, rotoscopic animation, and the captivating recollections of the survivors in their own words (as read by actors). Given the use of animation, it's more of a reconstruction than a reenactment, and it's incredibly intense as we are transported to the day a lone gunman shattered more than the peacefulness of a sunny, hot August day in Austin. It was a day that shook the country, and caused terror, confusion and panic … and also acts of heroism.

By focusing on the victims and those who had no choice but to be involved that day, director Maitland makes little mention of the shooter (a name I won't publish here). We hear the words of Clare Wilson, the first shooting victim who was 8 months pregnant at the time. We also hear the words of Allen Crum, the University Co-op manager, whose heroic actions helped put an end to the tragic events of the day. Of course, police officers Ray Martinez and Houston McCoy are credited with ascending 27 floors and taking down the bad guy, and it's mesmerizing to hear their recollections of that day.

It was also fascinating to hear the replays of the on-site reporting from Neal Spelce of KTBC radio as he made his way around campus – reporting live to the nation. We also learned many details about how the police responded, how citizen vigilantes jumped in to help with their deer rifles (it is Texas after all), and how some acted so valiantly in the face of horror, while others understandably went ducking for cover. There is also the extremely moving mass assembly of quiet support as the ordeal finally ended.

Political commentary is minimal and confined to the very end as we are informed that, quite ironically, August 1, 2016 will mark the 50th anniversary of this event … and it's also the day that the new Texas campus carry law goes into effect. There are also reminders of more recent mass shootings: Columbine, Virginia Tech, Sandy Hook, and the Aurora, Colorado movie theater.

In the post film Q&A, director Maitland addressed, what he called the disruption of public space and how it leads to various responses by ordinary people … some quite heroic and selfless. Much of the film follows the extraordinary Texas Monthly article by Pamela Colloff entitled "96 Minutes". It's a must read and the perfect complement to this exceptionally well made and emotional documentary (which will air on PBS later this year).

As timely as ever (tragically so), TOWER recounts stories of a few individuals whose lives were forever changed by the fateful events of August 1st, 1966 on the campus of University of Texas, Austin. Narrated by some of the survivors of the first mass shooting on a U.S. college campus, the recreations are presented in beautifully animated rotoscoping. The animation brings a surreal dream-like quality, similar (I can only imagine) to how the survivors, heroes & bystanders must have felt on such a hot, nightmarish summer's day. Like a thunderclap out of the blue, the crack of the first bullet sent shockwaves through the audience, as it took down a pregnant Claire Wilson. 50 years later, you can still hear the heartache in her voice as she narrates not only being shot (which caused the loss of her unborn child), but also witnessing the death of her fiancé, who was fatally shot as he bent over to help her up. Throughout the movie, we are introduced to a handful of the players in the day's events & we are shown the terror as seen through their eyes. While many of the stories were about brave acts of heroism, there were also honest moments of fear, confusion, hesitation & self-preservation. As the story unfolds, you can't help but wonder how you'd react in a situation like this. Would you stand behind a pillar, waiting for it all to end? Would you run into the shooter's sight to comfort a bleeding pregnant woman, trying to keep her conscious until she can be moved to safety? Would you slink closer to the tower, attempting to remain unseen by the sniper & assist the police? I don't think anyone can know until they've been in this situation (something I hope none of us experience), so we certainly cannot judge the many who chose security over bravery that day. However, the truly brave are to be admired for their boldness, selflessness & quick-thinking. The movie does a good job focusing on the victims, survivors & heroes, instead of the story gravitating around the shooter, as is often played out in the media. This was a very deliberate choice on the part of director Keith Maitland, who said in the Q&A that there are plenty of websites, movies & articles devoted to the shooter, so he didn't feel that perspective was warranted in this film. Once the final stand-off comes to an end, the interviews shift from rotoscoped reenactments to live footage of the survivors, who still carry the weight of this heavy day on their countenances. Maitland said he couldn't speak directly on gun-control policy, and would leave that to those "smarter than him" who are expert in the area of policy-making, but he hoped it would spark important conversations with all who watch this film. A truly poignant & unique piece of documentary cinema.

Back in 1966, a tragedy occurred at the University of Texas. A crazed gunman atop the clock tower began opening fire on folks down below...killing about a dozen folks and injuring many more during this 90 minute spree. This film is the second I have seen about it...and it's very different from "The Deadly Tower", a made for TV movie from 1975. "Tower" tells the story using voice actors and rotoscoped* animations of the actors. The voice actors read testimony by a variety of survivors who witnessed the incident. There are also a few folks who talk about it without the use of animation as well as some archival footage from the time. And, here's what is really interesting...instead of focusing on the killer as the previous film did, this new film deliberately avoided mentioning him or giving any attention to him personally. This was a wise decision and really showed respect for the man's many victims. Instead, it focused on the folks who risked their lives that day--who ran out to help the victims.

Overall, it was a compelling story told in an unusual manner by Keith Maitland. Well worth seeing...especially since some folks really rose to the occasion that day and proved that within tragedy was some humanity. Just be sure, if you do watch, that you keep some Kleenex handy...just in case.

*Rotoscoping is a simple technique for animation. A scene is filmed live and the drawings are made atop the original pictures. It's been around since at least 1915 when the Fleischer Brothers used it in their animated films.

Was able to view this at deadCenter Film Festival in OKC with the filmmakers in attendance. The film is all that the other reviewers say; immersive, surprising and tastefully done. The most interesting part was the Q&A after the film. The filmmakers shared their stories of why they wanted to bring this story to light, and shared the responses they received from people that were there that day. So many emotions. This is the first documented mass shooting in modern times, and seeing it unfold and seeing how people responded in light of how we respond now to mass shootings was one reason named. Another reason named was the fact that no one at UT really talks about it. I grew up knowing about it up here in Oklahoma, but was surprised no one at UT shared the story. And the fact that many of the survivors didn't want to revisit the events also was interesting. I would highly recommend this film, especially if you get to visit with the filmmakers.

Don't get me wrong, it's a great film, but in my book this is simply not a documentary. It does use the tools of a documentary, so we all know that these events did take place exactly as told, but what we all see is nothing short of an action film. The fact that this action film did happened, and the people telling us this story were actually there when it happened doesn't make it any less of an action film.

One more point I have to relate to. The usage of animation as the main tool for telling the story. It's more than a gimmick. It might have something to do with the very practical reasons mentioned in the Q&A session we had after the screening at the 2016 JFF, but it has one more effect. It makes all the special effects: the ones used to describe the surreal feeling of the victims lying wounded on the hot pavement, and the real pictures of the actual characters flashing on screen every now and again, all of them become an equal part of the same reality the film is showing us. If we were watching a live action film with special effects used for certain specific moments, these moments would become an unreal part of a true story. As is, everything we see is just as real, and that's another part of what makes this film so unique.

As a current UT student, this movie means a lot. The tower used to just a landmark, but right now, it reminds me of the story of those brave men and women.

It is the first time I saw a documentary mixed with animations. Those animations piece the story together, and their connection with the real video is very smooth. They also provide a shocking contradiction between the animated characters and the real people 50 years later. This contradiction reminds me how long we have been forgetting those people.