As a followup to my review and comments on Haskell Wexler’s film, Medium Cool, here’s an important short film interview with Wexler, made in about 2014, the year before he died. Wexler talks about the film and his filmmaking. He describes the mood and atmosphere in Chicago at the time, his political attitudes, racism and the antiwar movement, and how Medium Cool came to be. Please enjoy.
Haskell Wexler invented a new hybrid form of filmmaking when he created Medium Cool, released in 1969. I saw the film back then, but was probably unconscious of anything but the story and its background—the antiwar protests and police action around the1968 Democratic National Convention in Chicago.
This is the film’s 50th anniversary and I celebrated by watching the film—three times. Once by itself and twice with the excellent commentary tracks included on the DVD. (You see, Netflix, that’s why some 3 million crazy people still subscribe to your DVD service—because it’s the only way we can view foreign films and classics like this. You have 40 times that in streaming subscribers, so I hope you keep finding us profitable too.)
Wexler layers a fictional story of a loner TV news cameraman, a single mom and her young son over cinema-verité-style documentary footage of news events leading up to the convention (Robert Kennedy’s assassination and funeral, the arrival of the protestors in Chicago, the preparation of troops, police and Illinois National Guard) with the events inside the convention hall (the old International Amphitheatre) and in Lincoln Park, Grant Park and on Michigan Avenue.
Wexler started researching his film at least a year in advance and had tips that there would be a major protest action surrounding the convention. Because of his planning, he was able to have his characters carry out the plot against a backdrop of actual convention footage and street protests. The other innovation is Wexler’s use of quick cuts and sharp transitions. He takes you from A to C without stopping at B to explain, as Roger Ebert says in his 1969 review. That’s a technique we are used to now, but it was probably jarring 50 years ago.
Robert Forster plays John, the cameraman, and Verna Bloom plays Eileen. The most striking sequence is near the end of the film when Eileen is frantically looking for her independent-minded son, Harold (a 13-year-old untrained actor, whose performance is rough, natural and phenomenal). Harold has wandered away from their home in an Uptown slum (a poor white migrant neighborhood at the time) to go down to Grant Park with one of his buddies. Eileen follows him downtown, looking frantically through the crowds and marching along with the protestors on their way to the convention site. She’s in the middle of the actual police attack on the protesters. Wexler very cleverly had Verna wear a bright yellow dress, which meant she was easy to follow in the crowd.
Finally Eileen and John connect and get in his car to continue the search for Harold.
The film ends with a tragic accident, which happens for no reason, as accidents do. (My sister Linda died at the age of 27 in a similar car crash in January 1970, a life ended for no reason. She died at the same age and in the same year as Jimi Hendrix and Janis Joplin.)
There are plenty of other dramatic elements to the film. One interesting segment involves a fictional story about a cabdriver who found a package with $10,000 in cash in his taxi and returned it to the owner. John visits his home to interview the driver and meets all his friends. It’s 1968, remember, and the driver’s friends (the whole cast in this sequence is African-American) are artists and activists. They accuse John of being a police spy and the conversation gets racially heated. (Some of the film is scripted and much of it is improvised, including most of this scene.)
In the newsroom, there are discussions of what it means to be a journalist today. And in one scene, John finds out that the TV station has been giving his news footage to the Chicago police. He explodes and eventually loses his job over it. And there’s Harold’s fascination with his pigeons, which he cares for on the roof of the building where they live.
The cameraman and his sidekick, the sound guy, are carrying the bulky equipment of the period. It’s interesting to imagine what Wexler might do today using a smartphone. Excellent films like Tangerine (2015) and Searching for Sugar Man (2012) were shot on smartphones. The Oscar-nominated The Florida Project was shot on 35mm in 2017.
Medium Cool is brilliant because Wexler, the director/cinematographer, starts with an idea and carries it out with style and intensity. Medium Cool is a masterpiece, a landmark film that never got much attention. At the time, it was given an X rating because of some nudity in a delightful bedroom chase scene. Because of DVDs (1995), you can see it today—and I recommend that you do.
You can read Roger Ebert’s 1969 review here. Rather than reviewing the film, he focuses on Wexler’s approach and technique, for reasons he explains.