I saw “The Cove” this past Thursday. To call it a documentary fits the rudimentary description, but the word “documentary” however implies certain qualities among the film that might make those prejudiced against it turn away. “The Cove” shows shots of people talking or groups of people doing fascinating or horrifying things, but that’s not all there is to the movie. Instead it actually has a deeper aesthetic value and pattern.
The first shots in the film are, if I’m right, taken from infrared cameras, then a few more from night vision. We hear the deep, benevolent voice of Louie Psihoyos, telling his audience that he did his best to try to make the movie legally. This first scene, both in visuals and words, warns us of not being allowed to see and roadblocks and denials. The movie also shows other people who have tried to do what Psihoyos as his team are doing, and failing. Some get murdered, as indicated by stills of web pages announcing these deaths.
Psihoyos’s documentary tells the story of dolphins being hunted in the coastal town of Taiji, Japan. He learns about this from Rick O’Barry, an Alfred Nobel figure in his transformation from TV show producer to dolphin activist. Seeing some of the action, he assembles a group with different skills helping him expose what’s happening. They have to do everything at night, which explains the infrared and the night vision. SPOILER ALERT, but they use the infrared cameras to install regular digital ones and hide it in the right places, they go back to the hotel rooms to look at the footage, the screen goes black, we as the audience go underwater, and the infrared and night vision fully contrast the clarity of what’s recorded.
And this movie makes me jealous that this guy only went to one week of film school.
And this movie makes me unable to hate Hayden Panettiere, not that I did in the first place.
I also saw “All The President’s Men” on TCM the same night, and I’m not sure whether I would be equally erudite with this movie as I was on “The Cove.”
The movie stars Dustin Hoffman (playing Carl Bernstein), the greatest American actor in the New Hollywood era. The first few scenes of the film made me think that he’s unfairly playing second fiddle to Robert Redford (playing Bob Woodward), but both men even out eventually. Not to mention that this is the first time I’ve seen Robert Redford act, and I feel shitty and reductive for saying that but I haven’t checked out his oeuvre yet. It still seems that Redford gets a 60/40 in the movie because he gets mano-a-mano with Hal Holbrook’s Deep Throat, their meetings sprinkled with neo-noir elements. I guess it’s more cinematic that way for a person to meet another instead of being interrogated by two.
The reason I bring up the Deep Throat meetings is because the first movie I’ve seen of the subject is “Dick,” where both Woodward and Bernstein meet “Deep Throat.”
Both movies show how the little guys are intelligent and can beat the bullying big guys with a rock and slingshot. and in “All the President’s Men,” Bernstein’s friendliness and hunger and Woodward’s innocence complement each other. They’re both underestimated but as we realize, one brain’s as good as the next, as both guys meticulously look at details and scour the right interviewees and follow the money, as Deep Throat has said.