Dir. Mark Wexler, 2004, US, 95 mins
Cast: Haskell Wexler, Mark Wexler, George Lucas, Michael Douglas, Irvin Kershner, Conrad L. Hall, Conrad W. Hall, Julia Roberts, Jane Fonda, Sidney Poitier, Milos Forman
Review by Hemanth Kissoon
[Note: As the film focuses on father and son, the forenames will be mentioned for Haskell and Mark Wexler rather than the usual surname short-hand.]
“What does an actor say about a legend?” - Paul Newman.
“I was the student to his teacher.” - George Lucas.
Whoa! If you worked in the film industry, there are not many higher compliments to be given by two such men. Renowned cinematographer, but also writer-producer-director of the ground-breaking Medium Cool and documentarian, Haskell Wexler has carved a swathe through the film world since the 1960s. Privileged (by birth, talent and hard work), spoilt, self-absorbed and politically active, octogenarian Haskell is now looking back at his legacy with much regret and pride.
His son Mark decided to make a documentary about him. Haskell states that, “Making movies is not me,” i.e. that he is not just what he does for a living. He suggests, rather perspicaciously, that the film should be about the walls between fathers and sons, which would make a richer documentary. How right he is.
“You bring to fatherhood who you are.” - Sidney Poitier.
Tell Them Who You Are is not just a document of a great filmmaker but one exploring the impact of paternity. Mark explores with sensitivity living in a famous and respected father’s shadow, and wanting his dad’s respect and his own recognition from the world, too. These are natural desires that Haskell does not seem to grasp. This is especially saddening, as the comment Haskell’s own father made to him still sticks with him half a century on – “You can turn good money into shit.” The remark was made after Haskell’s wealthy father sank one million dollars into a failed film studio for his son. Not prone to really in-depth self-analysis, at least on camera, Haskell never thinks to learn from his own father’s harshness and treat his child with more tenderness.
“Your dad’s tough, he reminds me of my dad.” - Michael Douglas.
Mark does an excellent job of looking at his childhood and relationship with Haskell. However, there are no interviews with his step-siblings to see if they concur with his view. Also, there is no mention of whether Mark has children and if not, why not. The ultimate question is not asked of Haskell directly: ‘Why do you treat your child that way?’ That question is not in the past tense. Haskell continues to call up shortcomings of his son’s filmmaking technique and rarely pays him a compliment. These are small qualms, as the film is rich with detail.
A movie about Haskell would not be half-complete without looking at his work and listening to those that worked with him. The abiding view seems to be that he was a talented cinematographer but very difficult to work with. He may have eventually been an Oscar winner but he was fired from both One Flew Over the Cuckoo’s Nest and The Conversation. Elia Kazan states that he was the only cameraman he never got on with. Douglas suggests that he is a frustrated director and supposes that Haskell believes he is a better director than those he worked with. Again, a direct question was frustratingly not posed – ‘Why did you not direct more?’
Not only did ego hamper his career, but so did his outspoken, self-proclaimed “leftist” political views (at least he and pal Kershner think so). Haskell attends political rallies and is currently making a documentary on working hours of movie employees on set.
The film portrays a complex, gifted egotist with humour and pathos, and without grating sentimentality. A great tool is used in the comparison of the Conrad Halls’ father-son relationship. It’s like a glaring alternate reality, where Haskell wishes he could have been as good a parent as his friend and fellow cinematographic legend, and Mark too desires their bond. It must have been real tough growing up with Haskell Wexler, but easy to admire the man, too.
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