Frederick Wiseman names his five favourite movies
The films of Frederick Wiseman are reflections of personal experiences rather than ideologically objective portraits of his subjects. As an iconic figure in the world of documentary filmmaking, he has carved a distinguished niche for himself through his unique approach to capturing the intricacies of institutions.
At the age of 94, Wiseman possesses an extensive body of work, personally editing all his projects. The prolific filmmaker is renowned for his epic, empathetic, and captivating documentation of the inner workings of various American institutions, offering audiences an unfiltered look into the complexities of human behaviour within structured environments.
Wiseman’s filmmaking journey began with a legal background; he studied law at Yale University and subsequently worked as an attorney. However, his passion for storytelling and the human experience led him to explore the world of cinema. In 1967, he made his directorial debut with Titicut Follies, a documentary that took viewers inside Bridgewater State Hospital for the criminally insane.
Although his film style often mimics observational modes, Wiseman is known to reject the term. In his words: “What I try to do is edit the films so that they will have a dramatic structure. That is why I object to some extent to the term ‘observational cinema’ or cinéma vérité, because observational cinema, to me at least, connotes just hanging around with one thing being as valuable as another, and that is not true. At least, that is not true for me, and cinéma verité is just a pompous French term that has absolutely no meaning as far as I’m concerned.”
The director’s commitment to his craft is evident in the sheer volume of work he has produced over the years. Each film is a meticulous study of its subject matter, with Wiseman spending weeks embedded in the institutions, capturing genuine moments and unfiltered human interactions. As a master of the art, he enjoys films which offer glimpses into the human psyche or state of being.
For instance, Modern Times, directed by and starring Charlie Chaplin, is, in his view, the “best analysis of life in an industrial society”. Released in 1936, during a period of significant economic and social change, the film reflects Chaplin’s concerns about the dehumanising effects of industrial society. He also describes Duck Soup as the “best documentary” while maintaining that Sullivan’s Travels is the “best argument why not to make documentaries.”
In a rather bleak manner, he claims Agnès Varda’s Le Bonheur is the “best analysis of how replaceable people are,” although it’s a fitting connotation given the film’s premise, which sees Jean-Claude Drouot’s François falling in love with a woman who isn’t his wife. Similar to Wiseman’s penchant for challenging convention, the film is known for its boldness in tackling societal taboos and challenging traditional notions of happiness and relationships.
Frederick Wiseman’s five favourite movies:
- Sullivan’s Travels (Preston Sturges, 1941)
- Duck Soup (Leo McCarey, 1933)
- Le Bonheur (Agnès Varda, 1965)
- Grand Illusion (Jean Renoir, 1937)
- Modern Times (Charlie Chaplin, 1936)
