Documentary film-maker Bob Sanders and his wife Carol attend a group therapy session that serves as the backdrop for the opening scenes of the film. Returning to their Los Angeles home, the... See full summary »
John Cassellis is the toughest TV-news reporter around. His area of interest is reporting about violence in the ghetto and racial tensions. But he discovers that his network helps the FBI by letting it look at his tapes to find suspects. When he protests, he is fired and goes to the 1968 Democratic National Convention in Chicago, Illinois. Written by
Haskell Wexler, a cinematographer by trade, practically invented the technique invented we know today as "cinema verite" with this striking drama that plays so much like a documentary, you'd never guess it was fiction without being told. It's less a story and more a voyeuristic look into the lives of ordinary people thrust into extraordinary circumstances, in this case reporters who are covering a political convention and other Chicago locals who are just minding their own business when the legendary riots break out at the 1968 Democratic National Convention.
Even more groundbreaking is the approach Wexler takes in framing the film's final scenes. He had ample warning that there would potentially be some unrest at the convention, so he decided to thrust his cast right into the thick of it, sending them to the foyer and front entrance of the Chicago Convention Center and the crew right along to film the events. No one knew exactly what would happen, making this perhaps the most creative and timely piece of "improvised" drama in the history of filmmaking up to this point.
Every documentary filmmaker who chooses to make his/her film about actions and events rather than simply a bunch of talking heads owes a debt to Wexler and his creative team on "Medium Cool".
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