National Gallery

If you are familiar with Wiseman's work, you know that he is a true documentarian. No Michael Moore-type bias, no opinions, just a pure document for you to do with what you will. I enjoyed every minute and learned much about the day-to-day life in London's National Gallery. I loved the staff lectures on different paintings, the restoration sections were fascinating, and even the board meetings were interesting (even though I hate meetings in real life LOL).

I'm only sorry Frederick Wiseman is getting older and cannot be with us for another 80 years so he can make even more documentaries. Brilliant, beautiful, sublime….

For those who enjoy the experience of visiting art museums, National Gallery' is a must-see. The brilliant objectivist documentarian Frederick Wiseman captures the iconic British museum from every side imaginable. Over the course of three hours, he offers a grand glimpse of the museum's collection and temporary exhibits as others look or discuss them, from art historians to tour guides. Fixed history and interpretation are celebrated in both Wiseman's camera and the loosely strung scenes of people in the exhibition halls. The movie cuts to various perspectives of the museum, from details of paintings to entire galleries, as people gaze at works. But Wiseman also captures the people operating the museums during PR and budget meetings and, most intriguingly, at work restoring paintings. No one looks at the camera to explain their work and Wiseman never even uses superimposed title cards, yet you will come away enlightened.

As observational documentaries go, Frederick Wiseman's "National Gallery" is pretty close to sublime. In typical Wiseman style there's no voice-over and no score; he simply places his cameras and his microphones inside the buildings and lets us see the paintings and hear the words spoken by the staff, at meetings or in discussing the art with the public. It lasts for three hours and if you love great art you just might have an orgasm watching the flow of masterpieces lovingly framed and spoken about. However, if art isn't quite your bag this might be the most boring film ever made.

At least Wiseman doesn't do it all in one continuous take, the way Sokurov did with "Russian Ark" whose roving camera induced in me a feeling of seasickness. Wiseman plumps for detail and how. The art is, of course, extraordinary but so too are the faces of the punters who come to stare. The screen itself becomes a canvas in which Wiseman's camera paints the faces of these onlookers and it is beautiful to behold. What's less beautiful are the commentaries of the gallery's guides as they try to 'explain' the paintings to the various tour guides. Love it or loathe it, it isn't like any other film about 'art' that you are likely to see which is some sort of achievement in itself.

"National Gallery" (2014, Frederick Wiseman), a documentary about the renowned British art museum, makes a strong case for major arts institutions. With a three-hour running time, we finish with a firm idea of both the inestimable value and fragility of The National Gallery. With a haphazard, seemingly random structure, the documentary shows people regardless of their actual involvement with the museum. We see patrons silently absorbing art; board members discussing their goals; curators discussing philosophy and techniques; janitors; wall painters; a board meeting where the discussion is about an unwelcome public marathon; budget cuts discussed at another board meeting; various educators, various video crews, museum guides analyzing master works; a male and a female nude model separately posing for what appears to be an advanced art class; adventurous Arctic activists bravely hoisting a banner at the museum's entrance; a pianist performing amid priceless paintings and a reasonably erotic, heterosexual ballet dance. Wiseman makes a compelling statement about the worth of visual arts, and it couldn't arrive to this brutal world at a better time.

Curiously, Wiseman does not introduce museum employees with captions or inform the viewer what event is occurring. This helps makes his statement universal. Rather than just a story of the National Gallery, the viewer is encouraged to gain appreciation for his or her local cultural institutions.

There are some memorable segments. I really enjoy the brief excerpts of lectures where experts interpret details in master works. The discussion of Paul Reubens's "Samson and Delilah (1609- 1610)" is interesting. So is the curator's lecture describing a Rembrandt portrait with a hidden second composition of the same subject. One of the senior museum big shots tells a laugh-out-loud joke about Moses and the Ten Commandments. Another museum guide informs a group of adolescents, several of whom are Black, that the Gallery owes its early funding to the Slave Trade. Leonardo da Vinci's power is also expressed or suggested multiple times. Finally, the ballet dance that is staged in the vicinity of two large master works reminds us that visual arts tickle the public's imagination in many ways.

It is an uneven journey, but it finishes with rising interest. "The National Gallery" will likely be enjoyed by artists of many disciplines who wish to be reminded of culture's power. It sure would be nice if the arts flourished in this particularly barbaric period while the world's militaries languished.

I was expecting three hours of viewing paintings; maybe there would be descriptions and opinions.

What we get is much more. It is a real documentary about life in London's National Gallery. I can relate as we have a local (Kimbell Art Museum) and took part in similar activities.

Do not get me wrong, there are plenty of pictures and discussions. They are just part of the overall experience.

You will come away feeling that you are part of the gallery staff and participated in decisions. It is the next best thing to being there. And the three hours presentation in its casual form will leave you wanting more.