When the Maysles Brothers Filmed the Beatles
The birthplace of the modern American documentary is Wisconsin, where Robert Drew brought a crew in early 1960 to film the campaigns of John F. Kennedy and Hubert Humphrey in that state’s Democratic Presidential primary. Albert Maysles was the cinematographer of its most iconic sequence, a long hand-held tracking shot following Kennedy from backstage to a lectern. There, Maysles caught Kennedy in the magic moment—the transformation from private to public, from casual manner to stage manner. Yet Drew’s fundamental insight is the unified field of cinematic activity—in a word, the filmmakers are present and are an inextricable part of the proceedings that they film. Everything that takes place in front of the camera—and, for that matter, behind it—is a performance, even the ordinary activities of ordinary people.
For Maysles and his brother, David Maysles, who worked together to make documentaries for decades to come, performance became their fundamental subject. Their first feature was “Showman,” about the producer and distributor Joseph E. Levine, and its very title bears a paradox: Levine was a man who put on shows, but he himself was, in the film, a man who became a show. If everything, in the presence of the camera, is a performance, the most sincere form of filmmaking would be to show the show, not to get past the mode of performance in quest of some being behind it but to see performance as the inevitable mode of cinema and, perhaps, even of personal identity.
By: Richard Brody
Source: The New Yorker
