Mystique of the billionaires' island
We see Leuchter in numerous wintry landscape images of Auschwitz as he goes about his business in the chilly silence of the site echoing Alain Resnais's fluid contemplative camera gliding across the austere landscape of deserted barracks, barbed wire and the rusted railway tracks of the death camps in his haunting 32 minute documentary Night and Fog  taking his samples by stealth to prove that what surrounds him is something entirely unrelated to the Holocaust.
Leuchter is a tragically misguided person unable to engage in irony, metaphor and self-analysis. In Mr Death we have an engrossing, complex portrait of Hannah Arendt's thesis of the banality of evil as it applied to the Holocaust. Leuchter's pathos, his infallibility, are acutely depicted in several scenes where his wife abandons him, he gets locked out of his motel apartment, and he is stranded in California walking along a busy highway, suggesting someone who is totally absorbed in his bizarre occupation and is unwilling to examine its ethical consequences. This is ironically demonstrated in one of the film's most powerful, surreal scenes where Leuchter straps himself in his own execution chair.
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While the absurd, historical revisions of the Holocaust made by Leuchter are negated by Morris as the film unfolds, he is more interested in trying to understand Leucther's personality, his motives, who this delusional man is. Morris' project is to endeavour to plumb the ephemeral nature of Leuchter's identity.
Is Leuchter an anti-Semite? A fool? Is he evil?
Is he simply misguided? These are the questions, as Morris informed Rex Doane, that guided his documentary on a more basic level of representation. According to Morris, there is no single event in Leuchter's life that could singularly explain the mystery of his behaviour and personality. Life is too complex and evanescent, Morris attests, to provide closure in a documentary about someone's identity and deeds. We appreciate the particular law-and-order ethos that Leuchter was raised in and which shaped his life-long interest in creating and perfecting execution technologies.
These archival images have a strong lyrical quality to them suggestive of the tabloid culture and visual iconogography of crime films and novels of the last century. What also gives Morris' films their postmodern character - as we clearly see in Mr Death and in the many different clips from his work in A Brief History of Errol Morris - is their reflexive authorial play between allusions, references and a variety of different camera angles including panning, dutching and tilting.
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It is important to note that Morris's gripping reenactments are not constructed to illustrate what the filmmaker may believe the world is, but rather they illustrate how images themselves don't embody truth. In Morris's own words "They're illustrations of lies.
They're all ironic. The Interrotron, which we see in A Brief History of Errol Morris and was first used in Fast, Cheap and Out of Control, is essentially a series of modified telepromptors which allow Morris' subjects to look directly into the lens of the camera rather than focus off one side of the camera at the interviewer. For Morris, this device which allows the interviewer and the interviewee to stare at each other down along the central axis of the lens is the "birth of true-person cinema". Morris' non-judgemental role as a non-threatening listener signifies, as we see in both documentaries, a refusal to fix the "truth" that is central to the filmmaker's cardinal belief that one should not have any preconceived ideas about their interviewees as cinema is unnable to represent any historical reality fairly and accurately.
In this sense, Morris' films essentially qualify, in terms of Nicholl's typology of documentary modes, as belonging to the "reflexive" category.
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It is a disturbing and provocative documentary that typifies Morris's self-questioning view of the world where all of us are located in our own private dramas and fantasy protects us from the more threatening aspects of the world itself. Morris' strong, idiosyncratic ideas about nonfiction film and film music are respectively registered in Luddy's and minimalist composer Philip Glass' testimonials in the Macdonald documentary. In fact, according to Glass, Morris was virtually camped outside his hotel apartment refusing to go away unless Glass would have another look at a finished film score that Morris had commissioned him to do and was not entirely happy with.
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Relatedly, Morris's unyielding ambition to create his films is also verified by Herzog in Blank's short, where we see Herzog eating his shoe as he said he would do when and if Morris would complete his first film. He created the Mustique Company in but sold it on in the s. Duplex in gated scheme with a pool in Fethiye or a cave house in Andalucia. Mystique of the billionaires' island Thu, Oct 25, , New to Market. Commercial Property. Sponsored Specsavers: looking deeper into your eyes with OCT scanning. A clandestine Christmas market adventure awaits the fortunate few who gain entry.
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Property News. Design Moment: Martini glass, Dermot Desmond trust applies to add staff flat to Shrewsbury Road mansion. Foxrock home of convicted murderer Graham Dwyer put up for sale. Look Inside. Subscriber Only. I want to stop my husband from trying impotence medication. Inside the secret dining room where TDs and Senators eat. Buenos Aires. Sign In. Don't have an account? Forgot Password? Not an Irish Times subscriber? Would have loved to see that theatre. I could cry anytime one of those wonderful older movie theatres is destroyed. The ambience of those places was unmatcheable.
Roger Sherman Theatre,etc. Saw the original Sound of Music there with Mary Martin. The audiences in New Haven often determined what plays would make it on Broadway. The old movie houses had a mystique and mysteriousness about them that was beyond magical for those of us who had the pleasure of frequenting them when we were growing up. It was common to stay in the theatre half the day, and watch more than one movie!! Those balconies back then…yes, they had a mystique all their own! There were a few more Arthouse CInemas downtown before Giuliani made sure they lost their leases.
The D. Griffith at the end of E. Was the Thalia the movie house on the corner of Broadway and E. What rubbish.
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