THE DUST BOWL (2012)

(hoopla/VOD) When I first heard that Ken Burns was working on a documentary about the Dust Bowl, I was already neck-deep doing research for a very Dust Bowl-centric novel and I thought to myself: “Well, I might as well give up on it now, because soon there’ll be a storm of Dust Bowl novels and the market will be exhausted.’”

For whatever reason, that did not happen. (Also, while I did finish a very rough version of the novel, I ended up abandoning it as it deviated too far from what I wanted it to be.) When Burns’ THE DUST BOWL did come out, it didn’t have the buzz that his recent documentaries have had. Hell, I heard more people talking about Burns’ BASEBALL doc than THE DUST BOWL.

Ken Burns has always been able to turn what could be a dull American history lesson into something immensely watchable; dramatic, even. He even managed to make the story of the creation of the United States National Parks into a riveting six-part documentary series. However, the Dust Bowl itself, just on paper, reads like a horror story. It doesn’t necessary require Burns’ deft touch.

If you aren’t familiar with the Dust Bowl, it’s one of the earliest and one of the worst, man-made environmental tragedies ever. Basically, the US government had a ton of unworked land in the Plains and then handled out lots for folks to head west, to settle and farm. Families rushed out and overworked the land to the point where the soil ended up turning to dust. Then a severe drought arrived and, because nothing could grow, there was nothing to catch the wind in the plains. The winds stripped all of the newfound dust from the ground, causing the ‘dust storms’ that barreled over the lands. Oh, and all of this occurred during The Great Depression.

To be clear: we’re not talking about temporary tornados here; we’re talking about stories-high loads of dust covering the lands for days on end. Houses were literally buried in dust. Everything in your house was covered in dust. You ate and breathed dust. The dust chewed through everything, eroding wood, clothing; farm animals would suffocate on it; children spewed up dirt.

These storms lasted for a decade because, there was no way to stop them without rehabilitating the land and, because of the prolonged drought, that simply couldn’t be done, not the way the current farmers tended their lots. Those lands had literally became deserts. Everyone that had been lead out there by the government, told to farm away with abandon, were left with less than nothing. (Yes, this was definitely Burns’ attempt to bring attention to climate change.)

Burns has always been best at leveraging photos for visual props as opposed to film footage, as photos allow him to unfurl his trademark sense of fireside storytelling at his own pace, but there are more than enough snippets of environmental footage that really hammer home the scale, monstrosity, and devastation of the storms. Anyone could make an effective cautionary tale documentary from that footage because it’s that spectacularly unreal, and it encompasses everything about America at that point in time.

It’s also worth noting that, unlike many Burns’ docs, a number of those who lived through the Dust Bowl are still alive, so there are far more first-person accounts than you’d expect from a documentary of his. It’s an enthralling, often tragic documentary, one which captures the tension of how the US was handling the plains at that time.

I’d imagine the same reason why THE DUST BOWL didn’t gain traction like prior Burns documentaries is the same reason I never learned about the Dust Bowl until later in life. It’s the tale of an American failure on American land that was spearheaded by an American government and resulted in the ruin of many American families and individuals. It’s a man-made disaster that folks just want to sweep under the rug and, yeah, that doesn’t make for the coziest viewing, but it’s history worth knowing.

HOW THE UNIVERSE WORKS (2010-Present)

(Discovery+/fubo/Science Channel)? This will definitely date me, but one of my formative memories is of being dragged out of bed by my father in the middle of the night to see Halley’s Comet. See, I loved reading about space, and this was a once-in-a-lifetime event. We drove out to the middle of nowhere — easily done when you live in Vermont — but, when he set up my telescope, I refused to look, scared of peering into the unknown. I was too young to have an existential crisis but, upon finally squinting through the telescope’s lens and seeing the burst of light in my telescope, well, it made me feel very small and very alone and very scared, but also in awe of the universe.

Now that I’ve technically grown up, practically every night I reinstill that cosmic feeling by letting this show lull me to sleep.

HOW THE UNIVERSE WORKS features an assortment of cosmologists, astrophysicists, theoretical physicists, and other scientists (including Michio Kaku) who discuss the theme of the episode, say, about new discoveries regarding the moons of Saturn, or expound on neutron stars, but more often than not it’s concerned with black holes. While they’re excitedly chatting away about their life’s work, or while Mike Rowe is narrating some connective tissue to help viewers understand the concepts, the show throws a bevy of impressive space CGI at you.

It’s been running for nine seasons now, although a fair amount of the recent seasons consist of three pre-existing hour-long episodes wrapped into one, which makes it perfect for half-awake background viewing.

It’s worth nothing that there are a ton of smaller clips from the show available via YouTube. Science Channel has even conveniently assembled an entire playlist of them, which should make for quality background viewing for you, too.

MR. SOUL! (2018)

(HBO MAX) I’m embarrassed that I was completely unaware of the existence of the Black variety TV show SOUL!, which ran from 1968 to 1973, a bit before my time. The show was an overstuffed marvel of wall-to-wall talent, featuring musicians, writers, and poets, and this documentary that extolls it is absolutely fascinating.

Despite the doc being named after the host of the show, Ellis Haizlip, and co-directed by his niece, it’s rather light on particulars about his life. Instead it focuses more on what he accomplished through the show than being a personal profile, which isn’t an admonishment, merely an observation.

Either way, be prepared to take notes while watching it, as there are a litany of acts and individuals noted in the doc that deserve your additional attention.

(Grateful to Damon Locks for posting about this doc, which I wouldn’t have otherwise seen.)

JUDAS AND THE BLACK MESSIAH (2021)

(HBO MAX/VOD) JUDAS AND THE BLACK MESSIAH leaves HBO MAX after March 14th*, so you only have a few more days to stream it, and it’s goddamn it’s well-worth your time.

I’ll try to keep this brief, because every hour I dilly-dally writing this is an hour you’ll miss out on the streaming window, but JUDAS AND THE BLACK MESSIAH is the rare docudrama that would’ve been just as rich as fiction. Despite being shot in Cleveland, it feels like midwest Chicago — they nailed the molding! — the cast is amazing, and it resonates in a way that say, TRIAL OF THE CHICAGO 7 does not.

  • Again, not shilling. Just trying to get folks to watch a quality film.

80 BLOCKS FROM TIFFANY’S (1979)

(YouTube) A pointed documentary on the gangs of the South Bronx in the 70s by Gary Weis (who at the time was working with Albert Brooks on filmed SNL bits), inspired by the Esquire feature SAVAGE SKULLS.

While Weis often uncomfortably inserts his privileged white, outsider self into the interview room with his subjects, he doesn’t edit out the folks that call him out on his motives, and he does make an effort to dig into the personalities of those embroiled in gang life. The end result is a number of strange profile pieces and re-enactments that feel like an ill-fitting but important portrait of 70s New York City.

Sadly, the doc has only had the barest of releases — it was shot to fill time during a SNL summer hiatus only to be scrapped by NBC execs, then used as an educational film for a bit, then had a limited DVD print run over ten years ago — but you can view it (albeit with abrupt commercial interruptions) here:

SYLVIE’S LOVE (2020)

(Prime) SYLVIE’S LOVE is a lovely Sirk-ian throwback romance from writer/director Eugene Ashe. It features Tessa Thompson as Sylvie, a bright young woman who dreams of a job in television and whose fiancee Lacy (Alano Miller) is overseas fighting in the Korean War. Nnamdi Asomugha is Robert, a skilled Jazz saxophone player who immediately falls for Sylvie immediately upon seeing her in her father’s (Lance Reddick) record store.

It’s a sweet, lushly shot old-school melodrama of two people who keep finding themselves thrown together, despite the obstacles they put in front of themselves.

THE KNICK (2014-2015)

(HBO MAX/VOD) Steven Soderbergh’s THE KNICK was part of the ‘auteur TV’ moment that bloomed in 2014, which included shows like TRUE DETECTIVE where the entire series was helmed by a sole director with a vision. Not only did Soderbergh direct all twenty episodes of the show, but he also shot it — not just taking on director of photography duties, but also filling in as the camera operator, -and- he edited it.*

The end result is a spectacularly modulated historical drama featuring Clive Owen as Dr. John Thackery as a brilliant doctor/addict at NYC’s Knickerbocker Hospital at the turn of the 20th century, Eve Hewson (the previously mentioned TESLA) as a nurse who falls into Thackery’s orbit, and André Holland (MOONLIGHT, HIGH FLYING BIRD) as Dr. Algernon Edwards, fighting for his right to practice medicine as a Black man. Its use of wide lenses, extended long takes, and unflinching portrayals of early 20th century surgery made it look like nothing on TV, and it sounded unlike anything else thanks to a throbbing electronic score from stalwart Soderbergh composer Cliff Martinez.

The second season ends with a jaw dropping moment, one that you will never forget — although you may wish you could unsee it — one that seemed to put a pin in the show but, no, there’s been talk of the show being revived; first with Soderbergh at the helm again, now with Barry Jenkins as the show runner. I hope it happens but, if not, Soderbergh gave us two astounding seasons of television that deserve to be seen by more folks.

Here’s the trailer, but you may to skip it — and the show — if you do not have a strong stomach.

THE ATOMIC CAFE (1982)

(VOD) THE ATOMIC CAFE is an expertly crafted pastiche documentary that maps the nuclear age and Cold War via interviews, archival footage, and U.S. propaganda. It may be because of current times, age, selective memory or whatnot, but I recall it feeling far more irreverent when I first watched it in the 90s. Rewatching it in this day and age, it feels like the pendulum has swung back, becoming a cautionary work again.

Arguably the new 4K restoration looks a bit too clean, has too much of a sheen to it — film grain shouldn’t be scrubbed out of existence! — but it’s worth it to get the film back out there again.

Re-Release Trailer:

THE MOVIE ORGY (1968)

(archive.org / DVD) THE MOVIE ORGY is a mesmerizing, epic camp pastiche of media footage and materials from the 50s and 60s that subversive film auteur Joe Dante (GREMLINS, THE ‘BURBS) assembled as a film student.

It originally ran seven hours long and was a mutating roadshow film, toured around college campuses and, every time it was screened, they’d edit new bits in, snip out other sections and otherwise re-assemble the film. As you might expect of a film that is seven hours long, has no real narrative so speak of, and was screened on college campuses in the late sixties and seventies, this isn’t a film you sit and watch sober, but a film you experience with others, where it provides part of the color of the communal experience.

THE MOVIE ORGY has been since been edited down to four and a half hours and, as it consists solely of stolen content, and the only way to properly see it is in a museum or makeshift underground theater (which is how I caught it, as Dante briefly came to Chicago to screen GREMLINS 2 and HOLES at the gorgeous Music Box Theatre, then screened THE MOVIE ORGY at a tiny little art space on the opposite side of town). However, there is a bootleg DVD out there, and it’s also available to stream via https://archive.org/details/the-movie-orgy. It’s perfect background material for however you’re managing to entertain yourself in this cold, dark, withdrawn wintertime.

SMALL AXE (2020)

(Prime) Obviously we’ll be hearing a lot about this series over the upcoming months, but a lot of ink has already been spilled as to whether Steve McQueen’s SMALL AXE is TV or film. You’d think that, since Krzysztof Kieslowski did something similar with THE DECALOGUE in the late 80s, critics would have an answer to that by now. Personally I don’t care. Call it a modern successor to the televised theater anthologies of old for all I care. Let him win a bunch of Emmys and Oscars!

It’s a singular achievement in this day and age — each and every segment of SMALL AXE would land on anyone’s ‘best of’ list this year — and to release five masterpieces in one year? It feels like McQueen challenged himself to direct the hell out of a wide range of genres, personally investing himself by showcasing London’s Black community he grew up in, daring himself not to fuck it up.

Visually sumptuous with scenes full of food preparation, simmering, consumption; aurally entrancing with music endlessly throbbing, knives and forks clattering on ceramic; exceptional performances that bolster meticulously crafted scripts — it’s fantastic cinema. Or TV. Or cinematic TV. Or just great art.

Yes, you can watch every film on its own — although I’d suggest going with the suggested viewing order — and you will find each and everyone to be exceptional, but watch them together, watch the timeline of events unfold, watch matters ebb and escalate, and the whole becomes a greater sum of its parts. It’s remarkable.

Oh, and when you’re done, check out the SMALL AXE online zine: https://smallaxe.interactnow.tv/zine