A
House on a Hill (2001)
"The slow parts aren't slow that
long..." - Chuck Workman at SXSW2001
Documentary filmmaker Chuck Workman's
narrative feature "A House on a Hill" redefines film.
It expands the limitations of film. It opens up the
frame of film in a way that hasn't been done before.
In fact, it busts the frame of film wide open. It's
astounding.
Workman, who also scripts here, creates
a film about architecture and the creative process
of an architect and in the process delivers an important
and timely essay on the architecture of film itself.
Utilizing a computer editing program called Symphony,
which is made by Avid, Workman continually plays with
and molds the frame of his film. His architecture
of the frame does more than just wash, wipe and fade;
it moves; it expands and contracts. Workman does all
this without ever making the technique destroy or
detract from his prime object which is to, of course,
deliver a marvellous story.
Phillip Baker Hall stars as an aging
architect, a very creative and misunderstood one,
who finds himself drawn back into a long discarded
yet highly personal pet project. Through the introduction
of a young couple hoping to build a house and, later,
a documentary filmmaker who takes an interest in the
protagonist, Workman creates a intricate and poignant
tale about creativity, art, architecture and film
itself. But more importantly, it's about creative
people, artists, architects and filmmakers.
Now normally, any script that uses
the tired cliche of having a documentary filmmaker
acts as a catalyst for exposition ends up on my hit
list. But Workman, himself mainly known as a documentarian,
utilizes this device in a film that is so emotionally
intriguing and so absorbing, that we can forgive him
this cliche. He makes it seem fresh and his own.
Utilizing film stock and video in production,
Workman presented the film at SXSW2001 in the video
format. It did not hinder from the enjoyment of the
piece at all. In fact, creating a film that meshes
old technology with new, Workman again comments on
his protagonist and his themes. He uses film to discuss
film without ever actually mentioning his subject
matter. Amazing stuff.
Music is also used to wonderful effect
in the piece. Casting aside the need for a commissioned
score and drawing from pre-existing musical works
instead, Workman delights in using jazz, opera and
a bit of modern rock as "mood setters" for the film.
Although Phillip Glass is used quite nicely in one
piece, surely the most astounding segment of the film
comes when an Aaron Copeland composition is utilized.
Copeland, himself a font of creativity that celebrated
the creative spirit of the common man, is perfectly
used here to accentuate a moment in the film where
Hall begins to see his work take shape and has pride
in such an event. It's a poignant and beautiful moment
in the film.
Workman calls upon a diverse and interesting
set of actors to support Hall and none fail. Laura
San Giacomo plays the documentarian with just the
right amounts of verve and humanity, Shirley Booth
plays Hall's ex-wife and delivers some of her best
work in ages (thanks to someone with the insight to
use her talent well), Henry Rollins plays slightly
against type and seems to enjoy every second of his
screen time, and Paul Mazursky plays an interview
subject with equal delight. It's a cornucopia of interesting
and underused talent put to good use by Workman here.
And Hall plays off of these wonderful actors in some
of his best work ever. This is a cast you will fall
in love with.
I could go on and on about what a remarkable
and important film "A House on a Hill" is, but hopefully
you will one day get to enjoy it for yourself. It's
a profound and important film. And the discussion
it creates about the creative process is significant
and well-timed. Bravo Mr. Workman! I would not be
surprised if this were one of the 3 best films I see
all year.
Note:
Also with Rebecca Staab, James Karen
and Daphna Kastner (who is apparently Martin Scorsese's
daughter). Workman has a small cameo.
Scenes from the film version of Ayn
Rand's "The Fountainhead" (1949) starring Gary Cooper
are used.
