The Wonderful World of Frederick Wiseman

At ninety-one years old, Frederick Wiseman shows no sign of slowing down as he continues to make some of the most beautiful documentaries/films. Ever since first discovering his work with his 1967 accidental expose Titicut Follies, I have become a firm fan, if not a little obsessed with his work. Often referred to as one of the most influential creators in the documentary film world, his unique viewpoint and attitude towards the entire filmmaking community make him truly original. His work has always appealed to me as one of my favourite things is watching the lives and experiences of others unfold before me, which may make me seem a little bit voyeuristic. Still, Wiseman’s work is for those with a genuine curiosity in the world around them.

As I mentioned recently, documentaries seem to be becoming increasingly popular, particularly on streaming services. The term documentary brings a precise meaning with it. I think when you're a child, it feels like something long and boring that you probably don’t want to watch, but are forced to anyway as it is educational. Now documentaries seem to mean something a bit different. They are thrilling murder investigations or larger-scale explorations that greatly influence the viewer and even our society. They can be funny and light-hearted or warm and emotional. Wiseman’s work is not like this; not intentionally at least.

At Berkeley (2013)

It seems a little disrespectful to place Wiseman’s work into a category or a theoretical definition when he himself does not believe in this aspect of the film world. Wiseman does not even see his own work as documentaries; he makes films. He does not define them as anything specific, but of course, the film world continues to define him and his work. It is a little difficult to describe his work, so it may be easier to say what it is not. When I think of Frederick Wiseman, I always end up thinking about Nick Broomfield. I think it is because they are so different in their film making. Broomfield has a very self-reflexive style of filmmaking. He does describe his work as documentaries and he himself often becomes part of the story. You can clearly see his influence on the likes of Louis Theroux and this is very much a style we are used to seeing; a face and/or a voice guiding the viewer through the story using narration or text, asking the questions the viewer wants to know the answer to.

Wiseman does not like the terms ‘Fly on the Wall’, Cinema Verité or Observational Cinema, so it would feel like a disservice to categorise his work as such or explain the theories and history behind such movements. In short, these terms are about reality, which is a key feature of Wiseman’s work, but he does not label his work with specific terms. He simply sets up a camera and whatever happens in front of it is his story.

National Gallery (2014)

It is refreshing to see his honest attitude towards the film world. He does not gush about his own work or the work of others. He isn’t part of brownnosing or the pompous cliques present in the film community. When Martin Scorsese is interviewed, every film is his favourite of all time and every filmmaker was a key influence on his own work. While inspiration and influence are key and endearing aspects of the film world, hearing Frederick Wiseman say he doesn’t watch films because “he’s too busy” is funny. Still, I think he isn’t concerned with the trivial facets of cinema. He is only concerned with his own work. He clearly loves what he does and wants it to be the best it can possibly be.

His work is largely focused on institutions and, in particular, American institutions. I think his interests in this subject matter may come from his time training to become a lawyer. His focus on institutions can be seen in his earliest work, Titicut Follies, and so many others: Juvenile Court, Welfare, Public Housing and, one of his more recent works, Ex Libris: The New York Public Library. His works are not exclusive about America, though. One of my favourite films is National Gallery, which explores all aspects of London’s National Gallery. You overhear conversations and tours about some of the worlds most famous paintings as well as listen to budget meetings and travel down to the basement to watch the restorers at work in their dungeon.

Due to his focus on American institutions, Frederick Wiseman’s work has become a crucial point of reference for American history and culture. There have been questions about whether he is the greatest documenter of American society and I think he is. There are two key features of his work that make him so. Both in fiction film and documentaries about America, we are so used to watching them through the ‘American Dream’ filter. We see this in fiction film time and time again. When it comes to documentaries, they are either a complete condemnation of America or a triumphant celebration of American perseverance and a compelling story about the underdog. In Wiseman’s work, it’s just America as it is, not good or bad; just real. His work provides an honest and true representation of this country and its people.

Ex Libris: The New York Public Library (2017)

Another strand of his work that makes him the greatest documenter of American society and culture is his lack of agendas, political or otherwise. This is an aspect of the film and art world that I believe is becoming lost. I have many opinions on political correctness and its continuing influence in cinema, which I’m sure will make their way into another post. Still, for now, I will say it is faith-restoring to watch films only influenced by the creator's interests. Even Titicut Follies, which I described as an ‘accidental’ expose, did not have an agenda. The documentary intended to simply capture a correctional institution in Massachusetts. It looks like something out of One Flew Over the Cuckoo's Nest and reveals a lot, but its intention was purely to observe.

You could say you have to put in the work and create your own story with Wiseman’s work as there is no narration or guidance. Each individual can develop their own narrative as one is not put to them, but I’m not sure that that truly describes his work. It’s not that there is no narrative. It's more like it is all narrative. He must choose what the camera is looking at and even though his documentaries are, on average, very long (many coming in at four hours or more), he uses a fraction of what he shoots, so editing plays a part in constructing a narrative. I see his work as less of something that you must work on to find a story and more a thing of enjoyment, whereby you are able to sit back and watch the world unfold before you, almost like sitting at an airport waiting for your flight. You watch the many workers and travellers wheeling their suitcases behind them as they pass you by and, every so often, you may catch yourself making up a story about them and the reason for their journey.

Law and Order (1969)

Like many people, I have a fascination with the world around me. I love learning about other cultures and just learning how other people live their lives in the same world that I do. Sometimes I can be a little obsessed with odd things. One in ballet and ballet dancers. I am less concerned with the beauty and art of ballet and more with the combined strength and beauty of the dancers. Wiseman has not one, but two, documentaries about ballet. For me, his documentaries are a dream. They allow me and others to observe a world that I am not part of, but am fascinated with, without bias or intervention.

I realise that this post has the tone of a ‘Fi’s Favourites’ and maybe in a way it is an unofficial one, but I think I was hoping to introduce Wiseman's work to a new audience as well as describe his work not only accurately, but also in a way that he would respect. I think his unfiltered, uninfluenced and unbiased view of the world and, in particular, America and its institutions has more significance and importance than we can appreciate right now. It is refreshing to see a filmmaker be so unconcerned with the ‘politics’ of filmmaking and simply continue to make work that he wants to. Frederick Wiseman may be the only filmmaker that doesn’t watch films, but I think Frederick Wiseman's work should be appreciated while he and they are still here.

The final film is a report on what I've learned as a consequence of making the film.