Haskell Wexler Movies

Axel Schill's non-fiction work The Man Who Shot Chinatown: The Life and Work of John A. Alonzo joins Light Keeps Me Company, Tell Them Who You Are, and other recent documentaries in paying homage to one of the world's great cinematographers. Active from the early 1960s until just before his death in early 2001, Alonzo beat the odds as a young man by migrating to the U.S. as a Mexican farmer's son and then working his way up to ultimately qualify as one of the most revered cinematographers in the American film industry. Among other accomplishments, he lit a string of contemporary classics including Harold and Maude (1971), The Bad News Bears (1976), Scarface (1983), and Steel Magnolias (1989). Schill cuts together interviews with such Alonzo collaborators as Richard Dreyfuss, Sally Field, and Michael Crichton, and illustrates many of their observations with clips from the esteemed director of photography's finest work. ~ Nathan Southern, All Movie Guide

Over a hundred leading cameramen (and women) discuss the fine art of motion picture photography in this documentary. Cinematographer Style is compiled from interviews with a broad cross section of respected cinematographers, ranging from award-winning veterans such as Gordon Willis (The Godfather), Vittorio Storaro (Apocalypse Now), Vilmos Zsigmond (Deliverance), and Haskell Wexler (One Flew Over the Cuckoo's Nest) to contemporary masters of the craft such as Roger Deakins (A Beautiful Mind), Peter Deming (Lost Highway), Ernest Dickerson (Do the Right Thing), and Remi Adefarasin (Match Point). While several participants discuss the tools of their trade, Cinematographer Style focuses as much on the philosophy behind photographing movies -- how they find a style that matches the material, their visual influences, how to prepare for a shoot, establishing a lighting and color scheme, and how "pretty" the image ought to be to match the story. Sponsored in part by Kodak, Cinematographer Style received its world premiere at the 2006 Los Angeles Film Festival. ~ Mark Deming, All Movie Guide

In 1997, Brent Hershman had spent 19 hours hard at work as a camera assistant on the set of the film Pleasantville one day before he was allowed to go home. The exhausted Hershman fell asleep at the wheel of his car shortly afterward, and died in an auto accident. The event sent shock waves through the entertainment industry, and led a number of union representatives in the film and television community to demand "twelve on, twelve off" regulations, in which crew members would not be allowed to work more than 12 hours at a stretch, with a 12-hour break following. However, many studios and producers have bristled at this suggestion, believing the long hours on a film set are an economic necessity. Haskell Wexler, a veteran filmmaker, cinematographer, union representative and political activist, is an active supporter of the "twelve on, twelve off" proposal, believing long hours are not only dangerous for the health and personal lives of workers, but they result in sloppy, poorly focused work that causes more problems than it solves. Who Needs Sleep? is an activist documentary produced and directed by Wexler which examines the dangers of sleep deprivation, the risks it can pose for workers, and the need for humane worker protection legislation in the entertainment industry (as well as other businesses). Who Needs Sleep? includes interviews with filmmakers Richard Donner, John Sayles, and Richard D. Zanuck, cameramen Vilmos Zsigmond, Conrad L. Hall, and Roger Deakins, and actors Tom Hanks, Julia Roberts, Annette Bening, and Tyne Daly. ~ Mark Deming, All Movie Guide

In the summer of 1968, cinematographer Haskell Wexler went to Chicago to shoot his first directorial effort, a drama about a television news cameraman who finds it difficult to remain objective about the events surrounding him. Wexler intended to use the National Democratic Convention being held in the Windy City as a backdrop, but as clashes between anti-war protesters and the Chicago police force became violent, Wexler and his cast and crew found themselves caught in the middle, and the violent skirmishes and their aftermath at once informed the film's content and became a vital part of its subtext. Look Out Haskell, It's Real! The Making of "Medium Cool" is a documentary that tells the story behind one of the most acclaimed and original American films of the 1960s; director Paul Cronin includes interviews with Wexler and many of the members of his cast and crew, while also featuring outtakes from the film recently discovered in storage at the U.C.L.A. film archive. A "work in progress" version of Look Out Haskell, It's Real!: The Making of "Medium Cool" was screened at the 2001 Edinburgh Film Festival on a double bill with a restored print of Medium Cool itself. ~ Mark Deming, All Movie Guide

Legendary cinematographer Haskell Wexler directs this vérité activist documentary about the pathetic state of L.A.'s public transportation system. Recalling his first film, The Bus (1965), Wexler focuses on the city's appallingly overbudgeted -- and largely useless -- subway project, as well as its underfunded bus service. The film follows a small band of activists who lobby the city government to purchase more buses and pay bus drivers a higher salary. ~ Jonathan Crow, All Movie Guide

Noted filmmaker Lorena M. Parlee directs this sweeping IMAX spectacular about Mexico. Populated with expansive shots of the country's mountains and city skyline, this film not only traces Mexico's long history -- beginning with Indian cultures through the Spanish colonization, to its eventual independence -- but it also explores the wide diversity of Mexican society. ~ Jonathan Crow, All Movie Guide

The fighting between the Sandinista government in Nicaragua and the Contra rebels backed by U.S. money and expertise is the focus of this pro-Sandinista film by Haskell Wexler. The appropriately named Eddie Guerrero (translation Eddie "Warrior") is a Vietnam War veteran sent to help out the U.S. Special Forces as they train and abet the Contras in their forays across the border from Honduras into Nicaragua. Eddie becomes romantically involved with Marlena (Annette Cardona), and at first they see eye-to-eye on politics and the need to overthrow the Sandinistas. Then the excesses of the Contras in their raids across the border are brought home to Eddie, while Marlena sees that the new Nicaraguan society is not what Contra propaganda claims. For some viewers, the couple's eventual conversion to supporting the Nicaraguan government may seem like one more cog in an anti-Contra diatribe, which is regrettable since Wexler could have given this film enough nuances to present the subtleties of the conflict and still prove his point. ~ Eleanor Mannikka, All Movie Guide

The Kid From Nowhere is built around the talents of Ricky Wittman, a remarkable young actor afflicted with Down's Syndrome who appeared in several TV programs during the early 1980s. Judy Farrell's script traces the efforts of a California mother (Susan Saint James) to curb the sudden energy outbursts of her retarded son. The boy is entered in a school athletic program, attaining confidence and achievement through his participation the Special Olympics. Director Beau Bridges has a supporting role as the boy's coach. Kid From Nowhere offers no easy solutions, but it does point out the importance of stressing self-value when dealing with children of special needs. ~ Hal Erickson, All Movie Guide

This documentary was made during the most intense period of fighting in the Vietnam War. U.S. participation in that conflict lasted from 1956 (approximately) until 1975. Here Jane Fonda and Tom Hayden travel to North Vietnam in order to show the North Vietnamese as actual human beings with legitimate needs and concerns. Their suffering from American and allied bombing attacks is clearly shown, along with interviews with Le Duc Tho (a Viet Cong peace negotiator) and others. Fonda was extremely active in the antiwar movement, and organized concerts and films supporting antiwar activities; this documentary was only a small part of her efforts in that period. This film, and the trip which made it possible, earned her the derisive epithet "Hanoi Jane." ~ Clarke Fountain, All Movie Guide

It's the last night of summer 1962, and the teenagers of Modesto, California, want to have some fun before adult responsibilities close in. Among them are Steve (Ron Howard) and Curt (Richard Dreyfuss), college-bound with mixed feelings about leaving home; nerdy Terry "The Toad" (Charles Martin Smith), who scores a dream date with blonde Debbie (Candy Clark); and John (Paul Le Mat ), a 22-year-old drag racer who wonders how much longer he can stay champion and how he got stuck with 13-year-old Carol (Mackenzie Phillips) in his deuce coupe. As D. J. Wolfman Jack spins 41 vintage tunes on the radio throughout the night, Steve ponders a future with girlfriend Laurie (Cindy Williams), Curt chases a mystery blonde, Terry tries to act cool, and Paul prepares for a race against Bob Falfa (Harrison Ford), but nothing can stop the next day from coming, and with it the vastly different future ushered in by the 1960s. Fresh off The Godfather (1972), producer Francis Ford Coppola had the clout to get his friend George Lucas's project made, but only for $750,000 on a 28-day shooting schedule. Despite technical obstacles, and having to shoot at night, cinematographer Haskell Wexler gave the film the neon-lit aura that Lucas wanted, evoking the authentic look of a suburban strip to go with the authentic sound of rock-n-roll. Universal, which wanted to call the film Another Slow Night in Modesto, thought it was unreleasable. But Lucas' period detail, co-writers Willard Huyck's and Gloria Katz's realistic dialogue, and the film's nostalgia for the pre-Vietnam years apparently appealed to a 1973 audience embroiled in cultural chaos: American Graffiti became the third most popular movie of 1973 (after The Exorcist and The Sting), establishing the reputations of Lucas (whose next film would be Star Wars) and his young cast, and furthering the onset of soundtrack-driven, youth-oriented movies. Although the film helped spark 1970s nostalgia for the 1950s, nothing else would capture the flavor of the era with the same humorous candor and latent sense of foreboding. ~ Lucia Bozzola, All Movie Guide

"I love to shoot film" is the sanguine motto of TV lensman John Cassellis (Robert Forster) in Haskell Wexler's 1969 Medium Cool, a semi-documentary investigation of image-making and politics. With his soundman, Gus (Peter Bonerz), John films such events as gruesome car wrecks with frosty detachment, considering himself a mere recorder of circumstances, his only responsibility to get his film in on time. Even his girlfriend, Ruth (Marianna Hill), cannot understand or penetrate John's complacency. Encounters with signs of the late '60s times, however, raise John's consciousness about the implications of his job, as he films a verbal attack by black militants on the media's racism, gets fired after he objects to having that footage turned over to the FBI, and meets Vietnam War widow Eileen (Verna Bloom). John witnesses the violence of the state firsthand as he and Eileen search for her son amidst the real-life demonstrations and riots at the 1968 Chicago Democratic Convention. Even though he realizes the political power of pointing a camera at anything, John finally cannot extricate himself or his loved ones from a culture obsessed with recording any sensational, gory incident. Scripted (from a novel by Jack Couffer), directed, and shot by Oscar-winning cinematographer and political activist Wexler, Medium Cool systematically questions the ideological power of images by combining documentary techniques such as "talking heads" and cinéma vérité with staged scenes between the actors. By the time Wexler and his crew start filming Forster and Bloom among the actual events at the convention, all barriers between fiction and fact are broken down, as Wexler's assistant can be heard warning, "Watch out, Haskell, it's real," when tear gas is thrown. The footage of cops clubbing people in the crowd is real, but Wexler's presence also turns it into part of a fictional story, revealing filmed "reality" to be as artificially constructed as any other fiction, subject to the interpretation of whoever holds the camera and, perhaps, to larger institutions of power.

Funding Medium Cool partly out of his own resources, Wexler had free reign during production, but when the execs at Paramount saw the result, they were not pleased. Despite the timely subject matter, Paramount delayed and then curtailed the film's release, tempering its impact on critics and audiences. Regardless of that record, Medium Cool stands as a vital late-'60s film for its incisive narrative and formal dissection of the visual politics of "truth," and its awareness of how coolly seductive televised violence might be as entertainment, especially in a historical moment marked by incendiary images of political assassinations, the Vietnam War, the civil rights movement, and counterculture protests. ~ Lucia Bozzola, All Movie Guide