We learned from JFK and especially from Errol Morris’ The Thin Blue Line that there exists a small margin where a film is documentary and a where the same movie is a work of fiction. Obviously, a movie is a work of fiction if it is demonstrably or explicitly false: the author of the script made up a story, likely based on his experience or close cousins thereof, and this story receives a visual interpretation. There also exists movies more truth than fiction, whose story spine errs heavily in favor of honest, actual events, whose false parts are either included for narrative’s sake or to intentionally confound an audience. Some genres require more (horror/suspense), and others, less (period piece).
A film is either true, or as true as possible, or false with elements of truth, even if the truth is capital-T truth. All media needs some sort of relatable element, even a sliver of something to grasp. Otherwise, perhaps on purpose, the film will be nonsense incarnate and unwatchable. We can be sure, though, that no film is one-hundred-percent truth, even if it bills itself as documentary. Even primary sources, firsthand accounts of events that for certain happened, have fallibility: the human memory is imperfect. Continue reading
We cannot ever be certain how many people live in a place. Article I, Section 2 of the US Constitution mandates that the Union count it citizens every so often, as to get an accurate number of Representatives from the individual states to Congress. In the 228 years since the first decennial census, the Census Bureau, now housed in the Department of Commerce, has conducted 22 of these surveys – each one attempting to coalesce on the actual number of people who live in a place, and certain characteristics about them. The hope, we hope, is to strive for a count of people close to the actual number of people; these two numbers have (probably) been close for some time. The decennial census direct order to the governing institutions from the United States’ governing documents.
Since it became cheap and ubiquitous, the Internet has revolutionized how we communicate; the first total shift since the telephone, and the second since the printing press. The narrative around how has shrunk almost exponentially, as well, as physical contact is no longer a necessity, the human voice is supplicant to the typed word. People have friends they’ve never met, do business with robots, and can sometimes tell the difference between real and not real. The Internet is the simulacra Baudrillard didn’t know he worried about; he was (somewhat) ambivalent about its takeaway meaning. He couldn’t know, but he could induce where culture was going (which, to be fair, is a simulacra of meaning), and he could wax obscenity about it.
Myth supersedes man.
It is fundamentally confusing that 1943’s Heaven Can Wait shares a title with the 1978 remake of another movie entirely (1941’s Here Comes Mr. Jordan). That this strange error exists makes for a confusing legal argument, considering that the newer movie should have run into copyright issues at the very least, and makes for a confusing cultural argument. Why would a studio want an audience to seek out a completely different movie? 
Les Misérables has been seen and not read for over a century, the first of whose adaptations appeared on screen in film’s first foray, J. Stuart Blackton’s 1909 take. Victor Hugo’s marvelous epic tale is historically rigorous, characteristically clear, and obviously adaptable to be acted, directed, and enjoyed. For 118 years, until 1980, Les Misérables was a film trafficked in dialogue, in characterization, in setting, and in continuity. But in 1980, music, now almost ubiquitous songs like “I Dreamed a Dream” and “Master of the House” define the story and frame it as an experience whose story is meant to sell the songs. And it has been wildly successful. Les Misérables’ 2012 adaptation was nominated for Best Picture, the film that best represented the world’s pulse for the year. It, however, was not the first version of this film to do so: 1935’s fifth adaptation (of now 17 overall) was filmed and nominated first. Despite the media narrative, 1935’s version is a better, more succinct and narratively sound version of Hugo’s original. It does not have songs (which were written in the late 1970s) and barely a score. But this film captures Hugo’s existential despair better than 2012’s cartoonish take. 
