“The Great Flood,” the latest documentary from found-footage impresario Bill Morrison, revisits the catastrophic 1927 event that inundated an area of some 27,000 miles along the Mississippi. Morrison incorporates nitrate deterioration into his work’s very structure, so that the washed-out, shimmery grayness of the floodlands seems to penetrate the film stock itself. The water imagery, with its sinuous flow, casual surrealism and dreamlike, ominous quality, underscored by jazz guitarist Bill Frisell’s bluesy, elegiac score, slowly reveals a racial divide eerily similar to the one informing Spike Lee’s magisterial Katrina doc “When the Levees Broke.” An art piece, a sociopolitical document and a musical meditation, “Flood” should strike chords with niche audiences.
For much of the film, newsreel cameras capture the flood’s devastation. In some places, only the tops of trees visibly break the gleaming gray expanse of the water. In other places, partially submerged businesses still function just above the waterline.
For much of the film, newsreel cameras capture the flood’s devastation. In some places, only the tops of trees visibly break the gleaming gray expanse of the water. In other places, partially submerged businesses still function just above the waterline.
- 1/8/2014
- by Ronnie Scheib
- Variety - Film News
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