WHAT HAPPENED, MISS SIMONE? (doc, 2015)

January 16, 2016

what happened miss simone Greetings again from the darkness. Classical pianist, extraordinary singer, highly sought after live performer, Civil Rights activist, and inspiration to so many … it’s only fitting that Nina Simone is now the subject of an Oscar nominated documentary. Talented filmmaker Liz Garbus (also Oscar nominated for 1998’s The Farm: Angola, USA) provides a biography that is both a deep-dig and somewhat gentle look at this fascinating and troubled woman.

Born Eunice Waymon in North Carolina during the Jim Crow era, she was the church pianist at age 4, and later studied classical piano with the dream of becoming the first black female classical pianist to play Carnegie Hall. While attending Julliard, she worked at an Atlantic City bar where, in an effort to hide the gig from her parents, she created the stage name Nina Simone (after the popular French actress Simone Signoret). It was also at this bar where she was first forced to sing … a step that changed the course of her life.

The film begins by showing her return to the stage at the1976 Montreaux Festival in Switzerland after a seven year self-imposed exile (most recently in Liberia). We then head back to her humble childhood and follow her progression as she blends her Bach-influenced piano style with an expressive vocal style in jazz, gospel, pop, R&B and soul … resulting in the nickname “High Priestess of Soul”.

What we see is a woman with remarkable talent and ferocious drive who just never is satisfied with society or her place in it … despite the positive impact she had as a musician and activist. Ms. Garbus uses some rare archival performance footage … such as her singing “I Loves You Porgy” while appearing on Hugh Hefner’s “Playboy Penthouse” TV show and “Mississippi Goddam” during the march with Martin Luther King. We also hear Nina telling her own story through previously unheard audio recordings, and we have access to diary entries and personal letters. These are combined with insightful interviews from her ex-husband and manager Andrew Stroud, collaborators like Al Shackman (her guitarist) and George Wein (founder of Newport Jazz Festival), and her daughter Lisa Simone Kelly.

What we soon see is a combination of other-worldly talent and a woman filled with rage and depression, and who is isolated inside her own uneasiness. Her later diagnosis and medication for bi-polar syndrome allowed her to better function in those last years. Her lack of attentiveness to her kids is kind of glossed over, but we understand how it made sense for her kids to spend more time at the home of the Shabazz family (Malcolm X) than with their own parents.

It’s a shame that Ms. Simone could never appreciate her achievements, the impact she had in the Civil Rights movement and the inspiration her music brought to so many. Even playing Carnegie Hall was not enough for her as she wasn’t on stage as the classical pianist of her dreams. Her biggest mainstream musical recognition stemmed from her song “My Baby Just Cares for Me” being used for a1987 Chanel No. 5 advertisement, but fortunately the rest of us can understand her place in history as a rare talent and societal influencer. She truly put a spell on us.

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Posted by David Ferguson

THE EMPEROR’S NEW CLOTHES (2015, doc)

December 17, 2015

emperors new clothes Greetings again from the darkness. I’m not one of those who subscribe to the belief that documentary films should present all sides to the story in a “just the facts, ma’am” style. In fact, I respect a filmmaker who is so passionate about a topic that he/she enthusiastically attempts to overwhelm the viewer with “proof” that their opinion is the definitive truth and no further debate is needed. Here, renowned director Michael Winterbottom (The Trip, 2010) supports comedian/actor/activist Russell Brand in his agenda to educate the masses on the evil of big banks and rich people, and the need for re-distribution of wealth.

Now that agenda may seem a bit odd coming from an admitted rich guy, but in fact, Brand’s professional success lends some credibility to his argument … or at least it’s a different approach than having a group of people living in poverty talk about how they got screwed by “the man”.

To say that Brand dumbs-down his explanation is certainly an understatement. To emphasize this, there are a couple of segments where he utilizes elementary level students to differentiate between rich and poor – what’s fair and what’s not. Concentrating mostly on the British economy, while also noting the similarities to the United States 2008 crash, Brand makes the argument that the turning point was approximately 35 years ago as Margaret Thatcher assumed power and Free Market Capitalism took over. It’s a bizarre point coming from a native of a country whose Monarchs (not known for their “fairness”) date back for centuries. However, this is an example of the keep-it-simple approach in getting the masses to join his quest.

Borrowing a page from Michael Moore’s long-successful script, Brand presents the big banks and the super rich as the villains of society. It’s a common theme and one that’s pretty easy to agree with … the banks were bailed out, and then proceeded to pay their upper management huge bonuses. The viable argument is, why don’t they pay “us” back? Brand attempts to follow Moore’s lead again (while referencing Joseph Campbell) by walking into the banks and asking to see the CEO’s. These attempts fall flat, and leave us with Brand wise-cracking while bystanders try to figure out if it’s all a prank.

The most effective sequences involve Brand walking the streets of Grays London where he was raised. His discussions with the locals are real, and infinitely more enlightening than his storming into bank lobbies. The statistics don’t lie – the rich are getting richer, while the rest of society struggles. George Carlin said it best … the poor are needed to keep the middle class motivated to work so the rich can benefit. Brand also rails against legal tax evasion via offshore accounts – especially in Grand Cayman. He lobbies for those accounts to be taxed and the money returned to the country of origin.

Most of Brand’s mission is preaching the importance of fairness, and the claim is made that by definition, capitalism is the inequality of power. Whether you agree with him or not, Brand is to be respected for using his celebrity status for a cause much more important than the best table in a restaurant, or courtside seats to a game.  His simple-is-best approach carries right through to the end where he does offer up his list of recommendations to create a more fair system.  If his simple and sometimes funny approach allows more people to enter into discussions, then his cause is worthwhile, even if his recommendations are a bit lacking in substance and depth.

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Posted by David Ferguson

ORION: THE MAN WHO WOULD BE KING (2015, doc)

December 3, 2015

Orion Greetings again from the darkness. “Believe it or not”. That’s the catchphrase that Ripley’s used for its books, TV shows and museums, and it could just as easily describe this latest from award-winning documentarian Jeanie Finlay (The Great Hip Hop Hoax, 2013). When Elvis Presley died in 1977, legions of his emotionally distraught fans refused to believe he had truly left the building forever. This is the crazy story of how one music industry huckster cashed in on the opportunity by taking advantage of talented nice guy who just wanted to sing.

If you can play golf like (pre-scandal) Tiger Woods or throw a fastball like Nolan Ryan, then you have a chance to create a name for yourself. However, if you sing like Elvis (and even favor him physically), your music options are mostly relegated to being a sideshow act as an impersonator. That option was twisted a bit in 1979 by music producer Shelby Singleton, who had purchased Sun Records from Sam Phillips and relocated it to Nashville. Singleton contracted with Jimmy Ellis, a nice young man from rural Alabama whose singing voice was eerily similar to that of Elvis. But rather than impersonate Elvis, Ellis donned a bedazzled eye mask and assumed the public stage name of Orion – the title and character of Gail Brewer-Giorgo’s novel that explored what might have happened if Elvis had faked his own death to escape the claws of celebrity. Orion became a fantasy experience for those Elvis fans who wanted to believe their King was still alive.

Ms. Finlay’s film exposes yet another example of how cruel the music industry can be. Talent is no guarantee of success. Mr. Ellis definitely had talent, but his ambition and trusting nature allowed him to be exploited (along with Ms. Brewer-Giorgo) by Singleton, who paid him no royalties despite a hand full of charting singles, and some albums that found a market. To her credit, the filmmaker doesn’t dwell on the ugliness, instead using archival audio interview from Ellis (and plenty of his songs) and numerous talking head interviews from his son and those who were associated with the time period, to create a biography of a man who just wanted to sing and live a good life. Ellis may not have been The King, but he was the kind of guy it seems we would all like to call a friend … and listen to him sing as often as possible.

watch the trailer:

 

 

 

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Posted by David Ferguson

KILLING THEM SAFELY (2015, doc)

November 28, 2015

killing them safely Greetings again from the darkness. “Don’t tase me, bro”. In 2007, an incident at The University of Florida became a humorous viral sensation when a student, after asking John Kerry a question, was forcibly removed by police. His pleading became a catchphrase, but didn’t prevent his being hit with the Taser. Now comes this documentary from director Nick Berardini, and he pulls back the curtain on the ethics of Taser International Corporation, the safety of tasers, and the protocol and use of this weapon by police officers.

We learn Jack Cover invented the taser in 1969, and it was the Smith brothers (Rick and Tom) who founded the Taser International company in 1993, increased the voltage output, and began marketing heavily to police departments as a safe alternative to firearms. The Smith’s claim the taser is “the biggest revolution in law enforcement since the radio”, though they spend the bulk of the movie giving evasive answers to variations of the question, “Is the taser safe or potentially deadly?”

Director Berardini documents tragic events where police use of tasers ended with suspects dying. Doctors and lawyers chime in, but it’s the testimonies of Tom and Rick Smith themselves that provide a level of creepiness that would complement most any horror film. Actual video footage is shown of not just the Smith brothers numerous depositions, but also of some of the actual events. Two of the most devastating are a man at the Vancouver airport, and a young man stopped for speeding directly across the street from his own house. The latter died after being tased … while his parents looked on. Neither appeared to be an immediate threat to the police officers. The film recounts incidents where kids as young as 6 years old, and women in their 80’s have been hit with police tasers.

Reports show that more than 17,000 Law Enforcement Agencies utilize tasers, and one of the more interesting case studies is that of the Warren, Michigan Police Department. One of the early adopters of the weapon, this police department dropped the taser from use by their officers after a tragic incident. Since then, they have seen no increase in police injuries or shootings, drawing into question the company claim of a safer alternative.

At a minimum, the film should instigate further debates on two key issues: the safety of the weapons, and the training techniques and best use for police officers. The key concern seems to be a direct hit to the chest area which can immediately impact the victim’s heart. It’s frightening to think that police could be Taser-dependent or Taser-happy in using a weapon that may not be safe. We see some fascinating video of macho tough-guy cops being dropped immediately by one second (or less) tasers, but it’s the events with multiple prolonged zaps that seem to cause the biggest concern. Again … this research is necessary and should be done immediately, given the widespread use of Tasers.

As a side note, Taser International is still in the taser business, but their biggest revenue source is now police body cameras. Say what you will, but the company is certainly opportunistic.

watch the trailer:

 

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Posted by David Ferguson

THE BLACK PANTHERS: VANGUARD OF THE REVOLUTION (doc, 2015)

November 19, 2015

black panthers Greetings again from the darkness. Black lives matter. We hear the phrase frequently these days, and director Stanley Nelson (Freedom Summer) takes us back 49 years to the beginning of the Black Panther Party, and then walks us through the rise and fall. Rather than the usual textbook approach that focuses on the famous photos of angry black men wearing leather jackets and berets while toting firearms, this is a much more comprehensive look at the complexities of the organization and its members.

The familiar names of the Black Panther leaders include Huey Newton, Bobby Seale, Eldridge Cleaver, Kathleen Cleaver, Elaine Brown and Fred Hampton. Despite the fact that first hand interviews weren’t possible with the big three – Newton and Cleaver are no longer living, and Seale declined the opportunity, there are some fabulous video clips and photographs, many of which have been rarely seen.

It’s the interviews with former Black Panther members that provide the most insight. Their stance is that the original plan was a non-violent approach to bring attention to police brutality and the lack of equality in Black America. Many social programs were started to assist kids and the poor, but things turned more aggressive when the passive approach didn’t yield the desired results. Newton studied the laws and realized open carry was permitted on public property, and that’s where most of the famous photos originated.

The segment on J Edgar Hoover’s counterintelligence plan for the FBI to do what was necessary to prevent the expansion of the Black Panthers is one of the film’s best. Hoover even described them as “the greatest threat to the internal security of the country” (yes, this was during the Vietnam War). He was especially concerned about the rise of a “messiah”, and that led to what most consider the assassination of Illinois chapter leader Fred Hampton while he slept.

Oakland is widely accepted as the central hub of the Black Panthers, and it was surprising to learn that “most” members were teenagers and a majority were female. The interviews with the former members are fascinating and void of any pomp or bluster … just matter-of-fact recollections. What really stands out is just how media savvy the leaders were. They understood how to get headlines and bring attention to the issues.

We also learn that Jane Fonda hosted fundraisers and meetings, and we see a clip of Marlon Brando supporting the Black Panthers. These celebrities brought legitimacy to the organization, but didn’t stop the fracture that occurred when Huey Newton and Eldridge Cleaver began feuding over the best direction. Seeing clips of Bobby Seale running for Mayor of Oakland in 1972 certainly brought a contemporary feel, as the black voter registration drives continue to this day.

As one of the former members states “making history” was “not nice and clean”. We learn that more than 20 former Panthers are still in prison today, and the parallels between the mid-60’s and the movement for equality today are undeniable. Director Nelson offers an informative education without preaching or romanticizing the Black Panthers.

watch the trailer:

 

 

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Posted by David Ferguson

INGRID BERGMAN IN HER OWN WORDS (2015, doc)

November 12, 2015

ingrid Greetings again from the darkness. A seven time Oscar nominee and three time winner. One of the best known and most beloved actresses of all-time. Fifty year acting career. Died at age 67, mere weeks after her final performance. These are all bullet points to highlight Ingrid Bergman, the cinematic icon. However, documentarian (and fellow Swede) Stig Bjorkman pays little attention to the icon, and instead focuses on the woman.

What sets this apart from many biographical portraits is Bjorkman’s access to Bergman’s diaries, journals, personal letters, photos, home videos, and most importantly, interviews with her four children: Pia Lindstrom, Roberto Rossellini, and twins Isabella and Ingrid Rossellini. It’s a treasure trove of memories, documentation and insight into a woman who lived life on her own terms … often in direct opposition to what societal norms dictate. The film neither defends nor celebrates her free spirit; it simply reports it and allows us to sit in judgment, should we be so inclined.

One of the best clips is young Ingrid’s screen test where her natural beauty radiates on screen, and her expressive eyes make it obvious why David O Selznick recognized her star quality. But there are numerous other clips and photographs which show her mostly involved with her family … one of her husbands and some combination of her kids. Not fitting into the typical “motherly” box, Ingrid spent an enormous amount of time away from her kids as they were growing up. She clearly loved them very much, as evidenced by the words in her diaries and letters, and the visuals from their time together. And the interviews with her children today make it obvious they viewed her as a fun friend, rather than the nurturing mom.

Another aspect that is crystal clear is the ambition and drive possessed by Ingrid. She even states “no one can have everything”, and her actions and words make it obvious that acting was what brought her to life – whether on screen or on stage. It never took long on the home front for her to feel the pull of her true adventurous nature, and soon enough she was back on a movie set … leaving the kids behind.

Specifics of her movie career are mostly glossed over. Casablanca has a quick segment, as does her time with Alfred Hitchcock. Instead, we get a broad perspective of the scandal that rocked the movie world … a pregnant Ingrid left her first husband (Petter Lindstrom) for her director-lover Roberto Rossellini. For the times, this was extreme impropriety and there were even boycotts of her films. No place was harder on her than the United States. Absolutely unapologetic and without remorse, Ingrid took her career to Europe. Ingrid and Roberto had three kids together, and since history has a way of repeating itself, it was only a matter of time before Roberto was with his pregnant girlfriend in India, and Ingrid moved on to producer Lars Schmidt (and his private island).

The most impact from the timeline comes courtesy of the four adult children as they recall the extended times away from their mother, followed by memorable and fun stints together. Of course, they have each had many years to come to terms with a mother who frequently chose pursuing her career dreams to spending time with them. Imagine having a mother who said “I belong more to the make-believe world of theatre and film”. It can make you tough and independent, or it can have the opposite effect. We hear each of them discuss.

This is the wrong place to look for a career retrospective of Ingrid Bergman the actress, but it’s an intimate and fascinating look at a woman who understood what was important to her, and refused to be ruled by societal expectations. Young Swedish actress Alicia Vikander provides voice-over for much of Ingrid’s written word, but it’s Ms. Bergman’s actions and the insight from Pia, Roberto, Isabella and Ingrid that complete the full portrait of a most unusual woman. Ms. Bergman died in 1982 (age 67), just weeks after her final role in the TV movie A Woman Called Golda… a fitting portrait of another woman who lived life by her own rules.

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Posted by David Ferguson

ALL THINGS MUST PASS (2015, doc)

November 6, 2015

all things must pass Greetings again from the darkness. I do not envy those experiencing their childhood in this modern era. Sure, they have far superior electronics and hundreds more TV channels, but they also have very little independence (most can’t even walk alone to a friend’s house or a park) and they likely will never experience the pure joy of perusing the stacks at Tower Records (or any other record store) for hours … experiencing the thrill of discovering a new artist or style of music that rips into their soul. OK, I admittedly suffer from a touch of “old man” syndrome, but filmmaker Colin Hanks (yes, the actor and son of Tom) has delivered both a cozy trip down memory lane and a stark accounting of good times and bad at Tower Records.

With humble beginnings as little more than a lark, Tower Records began when Russ Solomon’s dad decided to sell used 45 rpm singles in his cramped Sacramento drug store. He bought the singles for 3 cents and sold them for 10 cents. Within a few years, Russ purchased the record business from his dad, and proceeded to run it as only a rebellious kid from the 1960’s could. From 1960 through 2000, the business grew each year. It expanded the number of stores (peaking at 192 worldwide) and constantly adjusted to the musical tastes and the delivery method – 45’s, LP’s, cassettes, CD’s, etc.

Using some terrific photographs and video clips, accompanied by spot on music selections, director Hanks brilliantly and generously allows the actual players to tell the story. The expected celebrity drops are present, and even the words of David Geffen, Dave Grohl, Bruce Springsteen and Sir Elton John carry emotion. However, far and away the most impact comes from extended interviews with the unconventional and charismatic Tower Records founder Russ Solomon and his devoted and forthright employee team. Their sincere recollections provide the roadmap through the phenomenal growth, as well as the devastating end in 2006. We understand how these stores became so much more than retail outlets … they were cultural hotspots for at least two generations. We also learn some things we probably shouldn’t … like the definition of “hand truck fuel”, and the reason Russ installed hot lighting in the listening booths.

Mr. Hanks surprises with his ability to balance nostalgia and the harsh realities of the downfall of an iconic cultural business. The film captures the key role Tower Records, while also pointing out that the crash was due to more than just Napster and digital music delivery. An interesting case study for business majors highlights the importance of vision vs debt. For more insight from Colin Hanks, check out the interview from film critic Chase Whale: http://www.hammertonail.com/reviews/documentary/a-conversation-with-colin-hanks-all-things-must-pass/

“No Music. No Life”. The motto of Tower Records was somehow inspirational, and fit perfectly for stores that featured mammoth album artwork on their store fronts, their own “Pulse” magazine, and staff that couldn’t fathom life without music … much less wearing a suit and tie to work. This was truly “a chain of independent stores”, and trust me when I tell you that hanging out at Tower Records was more fun than having hundreds of cable channels.

watch the trailer:

 

 

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Posted by David Ferguson

BACK IN TIME (2015, doc)

October 24, 2015

back in time Greetings again from the darkness. Thirty years is an eternity in the filmmaking world. Only a few dozen movies even get a cable run in the year after their theatrical run. So, it’s worth noting, and maybe even magical, when a movie is beloved and worshipped by a rabid fan base some three decades after release. Such is the case with Back to the Future, the story of Marty McFly and Dr. Emmett Brown and their time-travelling escapades. First time director Jason Aron offers up a look at the BTTF community of fans, and some behind-the-scenes scoop from those involved.

Talking heads abound in the first part of the movie, as we see and hear from the masterminds of the classic: Robert Zemeckis and Bob Gale, as well as Michael J Fox, Lea Thompson, Steven Spielberg, Huey Lewis, Christopher Lloyd, Claudia Wells, Alan Silvestri, Dean Cundey, Dan Harmon, Frank Price and others. Very little new information is served up, and in fact Mr. Zemeckis doesn’t seem especially excited to be involved, whereas Mr. Gale seems quite pleased and comfortable with his role in film history. The best “making of” anecdotes come from Michael J Fox, though it is interesting to note just how difficult it was for the film to get studio backing – “time travel” movies didn’t have a successful box office track record.

The middle third of the movie is dedicated to the iconic Delorean car, and all that entails. This sequence would have been effective were it completed in 10 minutes, but instead it brings the film’s flow to a dead stop. Sure, it’s amazing that this many have a hobby related to this obscure car and its role in a classic film, but enough already!

Fan-based clubs and the accuracy of the film’s “future” predictions for 2015 make up the final third of the run time, as we get a glimpse of how close we are to real hover boards and flying cars. The question that seems unanswered is just who is this film aimed at? Most of the insight has been long ago discussed in DVD “bonus” coverage or previous interviews with the key players. The fan communities are certainly of interest if one is part of it, but the vast majority of those who have held the film close to their heart for 30 years care little for the obsessive fringes, and only for the emotions and imagination delivered by the film that needs no roads.

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Posted by David Ferguson

TAB HUNTER CONFIDENTIAL (2015, doc)

October 18, 2015

tab hunter Greetings again from the darkness. “Made it, Ma. Top of the world!” That line was famously bellowed by James Cagney in the 1949 film WHITE HEAT, and it reasonably could have been shouted behind closed doors, a few years later, by Tab Hunter. Of course, that wouldn’t have been the only thing Mr. Hunter was keeping behind those doors.  In his 2005 autobiography, he came out publically as a gay man. Director Jeffrey Schwarz takes that book, and puts a very forthcoming Mr. Hunter in front of the camera, to deliver a fascinating, entertaining and educational glimpse at what it was like to be a movie and musical superstar at a time when being a gay man was not just a social taboo, but actually considered a mental illness.

Normally, “talking head” documentaries quickly become tiresome, but now in his 80’s, Mr. Hunter remains an engaging and delightful man, and he is so sincere and upfront in telling his stories, that we couldn’t possibly turn away. In addition, director Schwarz drops in interviews from those who were there. These include: Debbie Reynolds, Connie Stevens, Robert Wagner (filling in his for his deceased wife Natalie Wood), John Waters, George Takei, and Robert Osborne. Each recall moments from real life, with the studio publicity romances (Reynolds, Stevens, Wood) providing the touch of melancholy that brings focus to the matter at hand.

Another entertaining touch added by Schwarz is his use of actual dialogue snippets from Hunter’s films to deliver punch to a point – sometimes comedic, sometimes more serious. Never succumbing to the career retrospective approach, the film does offer significant film clips, photographs and recollections of Hunter’s unique career that found him #1 at the Box Office, as well as #1 on the Pop Music Charts (his recording of “Young Love” knocked Elvis off the top of the charts).

The film could also serve as a historical documenting of the Hollywood Studio system, as Hunter’s success with Warner Brothers was never to be duplicated once he gained his contractual release (through buyout). We do go through the career re-birth brought about by Hunter’s work in the John Waters offbeat classic Polyster, where the former matinee idol finds himself making out on screen with Divine, the 300 pound transvestite who was a fixture in Waters’ films. Surprisingly, it’s Hunter’s fearless approach to the material that makes it click.

But beyond the Hollywood insight, the film is most effectively the story of a man who, because of his era, had to be one person in public and another behind the closed doors. Hunter describes this as “being rewarded for pretending to be someone you aren’t”. He speaks frankly about his relationship with Anthony Perkins, as well as a couple of other serious relationships. We also learn about his childhood, when he had an abusive father and was close to his older brother, who later died in Vietnam. Hunter speaks of being “lost as a kid”. Beyond the Hollywood years, it’s fascinating to hear Hunter speak of his time on the Dinner Theatre circuit, where he put up with the travel and drudgery so that he could pay the bills and care for his sick mother. We also learn that in addition to his staggering good looks, his on screen appeal, and his musical talent, Hunter was also a world class figure skater and competitive equestrian horse jumper. Yep, Tab Hunter is pretty much the guy we would all despise … if he just wasn’t so darned nice and likeable!

watch the trailer:

 

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Posted by David Ferguson

OUR DAILY DOSE (2015, doc short)

October 17, 2015

Greetings again from the darkness. Documentary director Jeremy Seifert made some noise in 2013 with his creatively titled GMO OMG, which along with his latest fit snugly into a sub-genre I call “Wake up, sheep!”  Mr. Seifert has a gentle approach in alerting us to topics which the general public mostly never even considers … at least until enough people are talking about it, and we are forced to learn something.

Since 1945, fluoridation of public water systems has been commonplace and widely accepted as a process that reduces dental breakdowns (cavities) by as much as 25% (roughly one cavity per person). It’s only recent scientific studies that have categorized fluoride as a “Developmental Neurotoxin” and “Endocrine Disruptor”.  In English, those two terms are defined respectively as a substance which negatively impacts brain development in children, and negatively impacts thyroid function. Mr. Seifert states that these studies prove that it’s time to re-think the national position on water fluoridation.

We learn that Grand Rapids, Michigan was the first city to add fluoride to its drinking water, but of course, one would be hard-pressed these days to find even a small scale municipality that provides un-fluorinated water to its populace. Scientists and doctors in the film (somewhat surprisingly) categorize fluoride as a poison rather than a nutrient, and that is certainly an attention-grabbing term. Their stance is that inclusion in our drinking water means it contradicts the “informed consent” doctrine that covers health care, and the real risk seems to be in dosage control. See, most water systems can’t even measure the amount of fluoride used, and there is no accurate way to track any person’s actual intake – given that water is used in so many food and drink products.

Asbestos, Lead, Arsenic, and Vioxx are all provided as examples of substances that were once deemed safe. Sure, Mr. Seifert’s approach might be considered a “scare tactic” or overreaction, but his point really is that it’s time to question the use and, if nothing else, allow consumers to make their own educated decisions. When he states 97% of Western European countries do not fluoridate water, many jokes on British dental work spring to mind … but this is also a pretty hearty statistic leading credence to Seifert’s call for more and better research.

The filmmaker even includes a Dr Strangelove or: How I Learned to Stop Worrying and Love the Bomb reference as acknowledgement that some will wave this off as just another conspiracy theory; however, if his 20 minute film can wake enough sleeping sheep, then perhaps some serious dialogue can be had.

http://www.ourdailydosefilm.com

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Posted by David Ferguson

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