By Nick Zieminski
Feb 16 (Reuters) – Run your finger over a map of any American city, and you’ll come across many familiar places: the store, school, city hall, zoo, ballet, gym, racetrack, park and court.
Each of these was the subject of a documentary Frederick Wiseman made in the course of a six-decade career spanning some 50 films — immersive, dispassionate explorations of how institutions work, the people they affect, and the workers who toil there.
Few knew such quotidian sites as intimately, or thought about them as deeply, as Wiseman did.
The prolific filmmaker, who documented dozens of such institutions across the U.S., and a few elsewhere, died peacefully on Monday, according to a statement by Zipporah Films, the distribution company he founded.
No cause was immediately given.
‘REALITY DREAMS’
Wiseman was an observer. His films eschew an explanatory voice-over; people don’t sit down for interviews with flattering lighting; when there’s music, it’s in the scene, not added later.
His cameras captured reality — 200 hours of raw material was not unusual — which an editor, typically Wiseman himself, then distilled into a feature film.
“The audience is placed in the middle of these events and asked to think through their own relationship to what they are seeing and hearing,” Wiseman told Documentary Magazine in 1991. “They are asked to ask themselves why I have selected and arranged the material in this particular form.”
His documentaries did not receive wide releases; none were box office hits. Besides an occasional airing on public television, audiences had to seek them out at festivals, college campuses or independent cinemas.
Funding was never assured. Wiseman turned to the crowdfunding platform Kickstarter for “In Jackson Heights,” about New York’s multicultural neighborhood, but the campaign fell short of its modest goal of $75,000.
The film did ultimately get made, in 2015, and attracted some of the best reviews of Wiseman’s career. Critic Matt Zoller Seitz called it “warm and attentive.”
His work belongs to a genre sometimes known as “direct cinema” — analogous to the French “cinéma vérité.”
Enthusiasts compared his films to penetrating novels. “Nobody talks seriously about writing the Great American Novel anymore, but Wiseman belongs to a generation that used to, and his body of work… represents the nearest contemporary equivalent I can think of,” writer Mark Binelli argued in the New York Times Magazine in 2020.
Wiseman called his documentaries “reality dreams,” and “expressions of my curiosity.”
‘TO CAPTURE WHAT’S GOING ON IN THE WORLD’
Frederick Wiseman was born on New Year’s Day in 1930, in Boston, the only child of Jewish parents Jacob Leo Wiseman, an attorney who emigrated from Russia to the U.S., and Gertrude (née Kotzen), an administrator at the psychiatry department of a children’s hospital. He studied and later taught law.
“I didn’t like law school because the stuff I had to read was so badly written,” he told the Metrograph journal in 2016. “I detested teaching as much as I detested law school.”
He also served in the U.S. Army — “fortunately” after the end of the Korean War, he told Britain’s Daily Telegraph — before turning to filmmaking.
His first feature, “Titicut Follies,” released when he was 37, took viewers inside a Massachusetts prison-hospital for the criminally insane. Though it could not be shown outside academic settings for decades because of a legal dispute with the state, the film helped establish Wiseman’s observational approach.
“It seemed to me an appropriate style to use when I was trying to make films about real situations, where I wasn’t asking people to do anything especially for me,” Wiseman said in 2016. “The idea always has been to capture as many different aspects of what’s going on in the world as I can on film.”
In 1968’s “High School,” his camera followed teens and their teachers in Philadelphia at a time of social upheaval. Like “Follies,” it is part of the National Film Registry at the Library of Congress. “High School II” followed in 1994, shot in New York City.
PBS broadcast his third film, “Law and Order,” about Kansas City cops, as well as “Domestic Violence,” in 2001, about a women’s shelter.
‘WORKING KEEPS ME OFF THE STREETS’
Wiseman received an honorary Oscar in 2016. His “masterful and distinctive documentaries examine the familiar and reveal the unexpected,” the Academy citation read.
“Constantly working keeps me off the streets,” he joked when accepting the Oscar. “This compulsion has always been understood by my wife, Zipporah, and my sons, David and Eric.” He named his production company after Zipporah, a law professor who died in 2021.
Other honors included four Emmys and recognition from the Cannes, Berlin, and Venice film festivals, as well as MacArthur and Guggenheim fellowships.
Journalist Sean Cooper wrote in Tablet, a journal of Jewish culture, that “even the most critical acknowledge that Frederick Wiseman is a genius of some kind.”
Wiseman was also drawn to European subjects. He chronicled life on and off the stage at the Comédie-Française, the centuries-old Paris theatre, and ventured into fiction with “The Last Letter,” set in a Ukrainian Jewish ghetto during World War Two.
“Menus-Plaisirs — Les Troisgros” profiled French restaurateurs. At four hours, it’s longer than the most indulgent meal and just as rich.
Asked about making sprawling movies that test some audiences’ patience, he said: “I make them at whatever length I think is appropriate … I don’t know how to take into account an audience.”
Other films covered subjects as varied as London’s National Gallery, the Panama Canal, and terminal illness.
“Each movie is a different experience with different people and situations that I have never experienced before,” Wiseman said. “I hope in each case I’ve learned something.”
(Editing by Olivier Holmey and Diane Craft)
