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Yet there are questions that cast Truth into doubt, so that when you leave at the end you may feel you have the necessary materials, but aren't sure how to assemble them. Everything seems right here in our grasp, like Truth on the spring afternoon in the philosophy seminar room. Watching the film, which I have done twice, is a tantalizing experience. The wraithlike Morris unveils the Interrotron at Sundance 2001 How she presents herself, how she copes, who she is to herself, what she does to explain a bizarre and contradictory story. In "Tabloid," for example, is his heroine Joyce McKinney speaking the truth when she gives her version of a story that riveted the UK tabloid-reading public for a long and steamy season? Or are other versions of the facts more accurate? I honestly believe Morris doesn't think it matters.
He simply wants to know: What will they say next? He finds their peculiarities and obsessions to be fascinating. Having seen all of Morris's films, I think the answer is complicated. Yet the bankers had one problem with the film, and people have this problem with most Errol Morris films: They couldn't agree on whether he loved the people in "Gates of Heaven" from the boundless depths of his heart, or was mercilessly satirizing them.Įrrol and Werner Herzog at Ebertfest 2004 The bankers, in the event, allowed the discussion session to run overtime for an hour, and voted ours the most valuable presentation of their expensive weekend: Dead pets, not investment gurus or government spokesmen. "Nobody will think they want to see a film about a pet cemetery." "Whatever you do, don't announce the name of the film," Gene instructed the event chairman. Gene Siskel shared my love for it, and we sometimes would show it to a group - a weekend seminar of Chicago bankers at Lake Geneva, Wis., for example. It is perfectly consistent with the oddness that stalks Morris that as soon as the man was set free, he sued Morris for cashing in on his life.įaithful readers will know I consider " Gates of Heaven" (1978) to be one of the greatest films. That film freed a man from Death Row in Texas. " The Thin Blue Line" (1988) may be the only documentary he has made where the viewer can be reasonably sure of what Morris intended to convey. It is impossible to be sure how to read it. I find Morris's new film " Tabloid" to be one of his best and most intriguing.
He answers a question with the precision and care of a philosophy master conducting a tutorial of his best students on a balmy afternoon in Cambridge, the breeze playing with vines at the window while all human knowledge seems just barely out of reach.Įrrol and Michael Barker at Ebertfest 2004