"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, Rovi
Medium Cool is an awkward and even pretentious movie, but, like the report of the President's National Advisory Commission on Civil Disorders, it has an importance that has nothing to do with literature.
Moviemakers have at last figured out how bright the average moviegoer is. By that I don't mean they're making more 'intelligent' pictures. I mean they understand how quickly we can catch onto things.
Blending fact and fiction, Wexler's seminal zeitgeist docu-drama, shot during the Chicago riots of 1968, raises intriguing questions, just like Antonioni's Blow-Up.
Its okay but you get lost in the plot - which is frankly all over the place. I like a more solid plot in my movies (for the most part). Forster is cool, and I dug that this movie shot LITERALLY as the riots outside the 1968 DNC took place, but I didn't find myself all too engrossed in the rest of the film.
September 22, 2011
Kenny Scheck
The pace and tone of Medium Cool reflects largely upon the decade in which it was released and the events which are reflected within it. As the protagonist, a TV cameraman, follows the events of the political tumult of 1968, we're given a first-hand view at the events and the ultimate implications. There's a point in
which this film melds seamlessly from fictional narrative into documentary filmmaking before returning to its narrative conclusion which is absolutely fascinating to watch. Engrossing film, but one you definitely need some historical backing and understanding of to appreciate.
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