Yesterday, I was privileged to view a remarkable documentary film shown at the Griffin Museum of Photography. As a  photographer/artist and writer, I sometimes wonder if there’s a point to all of the time and energy I put into my crafts. The film, called “A Single Frame,” produced by  Austin businessman and filmmaker Jeff Bowden, makes clear that one can never know the tremendous impact a work of art may ultimately have.

While on a family  trip to Dubrovnik in 2007, Bowden’s daughter  suggests going to an exhibit showing the work of female war photographers. Bowden is much taken with a photograph of a refugee boy taken during the war in Kosovo by  a young French photographer, Alexandra Boulat.

Driven by the  haunting image, Bowden sets out to find the child–who, if still alive would have been in his twenties or early thirties. Bowden’s search takes him from Texas to Paris, where he learns that Boulat passed away due to natural causes not long after the war. He tracks down a group of photographers she worked with, and, in conversations with them and others who were impacted by the war, learns of the devastation it caused, and of the post-war culture of the Balkans. Joining  forces with an experienced war-time fixer, he embarks on a search for the boy.

Rather than give away the outcome of the search, I’ll just say that  A Single Frame, released in 2015,   humanizes and educates distant audiences about the origins and impacts of the cruel war that lasted from 5 March 1998^[8] until 11 June 1999 in the former Yugoslavia. (As described on Wikipedia, the war was fought by the forces of the Federal Republic of Yugoslavia (by this time, consisting of the Republics of Montenegro and Serbia), which controlled Kosovo before the war, and the Kosovo Albanian rebel group known as the Kosovo Liberation Army (KLA), with air support from the North Atlantic Treaty Organisation (NATO) and ground support from the Albanian army). Effective in multiple dimensions, the film shows that one never knows where a  work of art might lead, whom it might affect, and how its spirit might live on to inform, influence and inspire future generations. Bravo!

–Anita M. Harris

Link to trailer 

New Cambridge Observer is a publication of the Harris Communications Group, in Cambridge, MA.

An Open Secret

The documentary movie “An Open Secret” does a wonderful job of exposing the sexual abuse of children in Hollywood. But you’ll probably never see it– not because of the difficult subject matter, but because almost no commercial theaters are willing to screen the film.

Written by  Amy Berg, Lorien Hayes and Billy McMillin and directed by Berg, the 2014 film shows that abuse of child actors is pervasive in Hollywood and that most people in the industry know about it. Either they’ve been personally touched by it (pun intended) or know someone who has been. Many powerful people in Hollywood who could ruin the careers of anyone who pushes for justice on this issue are involved.

I applaud the subjects who were willing to share their painful stories and especially the teenager who actually went to court against his agent/abuser. The abuser got only six months in jail and is still in the industry despite solid proof of the exploitation.

Questions:
It’s a big story, so why isn’t anyone willing to distribute the film? Why has it been pulled from film festivals?  Why after seeing the film have network executives refused to have the film on their networks? Why did the Screen Actor’s Guild unsuccessfully sue the filmmakers after seeing the film in which the head of their Young Performers Committee was implicated in the scandal?

Answer:

The topic is too hot to handle and hits too close to home.

Who can speak out for the innocent victims? In “Spotlight”, Hollywood is happy to pay homage to the reporters who uncovered sex abuse in the Catholic Church a number of years ago, but unwilling to acknowledge it in their midst.

In the past, I’ve attributed problems of child actors to their inability to handle fame and fortune and an acquired sense of entitlement. Now I wonder whether their spiraling out of control has far more nefarious roots.

I thank the Boston Globe for sponsoring the screening of this movie in its documentary series along with a Q&A session with the producer. I wish that others had the courage to take on this difficult topic and not bow to the powerful perpetrators, but who’s to take up the mantle? Newspapers are too financially strapped to take on such financially powerful interests so others such as documentary filmmakers or even comedians (like those who exposed Bill Cosby) need to raise our awareness and lead us to take action.

See the movie if you can and be outraged by the subject matter (child sexual abuse) and by the story behind the story (the unwillingness to deal with the “open secret”).

–-Sheila Green

The pharmaceutical industry and especially Pfizer will hate Ed Zwick’s forthcoming movie–Love and Other Drugs–which portrays drug reps  as money-grubbing sex fiends.  

But while the  film, starring   Jake Gyllenhaal and Anne Hathaway,  is loaded withsex scenes and Viagra jokes, don’t be fooled: it’s funny and enjoyable for the most part but deals with some very difficult and provocative themes.

In the film,  neer-do-well salesman  Jamie Randall (Gyllenhaal) takes up with the beautiful and insightful  Maggie Murdoch (Hathaway) who, at age 26, has been diagnosed with Stage 1 Parkinson’s Disease. Like Erich Segal’s 1970 Love Story, the film portrays the joys of love but also the anguish that comes with any incurable illness– here, in the context of seemingly uncaring pharmaceutical and medical industries.

Hathaway is convincing, even mesmorizing as the artist and activist who brings old people to Canada to buy drugs. Gyllenhaal is believable and fun as a manipulative salesman who seduces, in one way or another, every woman he meets. The two portray their characters’ evolving realization/questioning of what’s important in life.

I enjoyed the film, but I left feeling unsettled and a bit disturbed–a result of tension between the funny and sad parts, worry about the future of the characters—and wonder about how I myself might deal with a loved one’s serious health issues

My friend K commented that while he liked the film, he felt it was opportunistic –that Zwick and the actors will make a ton of money–while people with Parkinsons and other incurable, debilitating diseases will just go on struggling. 

But I thought Zwick did a great job of personalizing and making more manageble what can sometimes seem like overwhelming problems,  and that he has performed an important service by asking serious questions in a way that will be palatable to a  mass audience.

I recently met Zwick– who was having a publicity photo  taken at the Charles Hotel in Cambridge–and asked why he made the film. It wasn’t for money, he said. He’d been impressed with Jamie Reidy’s  non-fiction book Hard Sell: The Evolution of a Viagra Salesman, on which the movie is based,  and had personal experience with a situation like the one the movie describes.

For the pharmaceutical industry…it’s not a pretty picture. But I guess they’ll have to–and have the resources to –fend for themselves.

The film is to be released in late November. In the meatime, here’s a link to the official site and a trailer:  http://www.loveandotherdrugsthemovie.com/

—Anita M. Harris
New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA.