This weekend The Documentary Channel will begin airing a month-long retrospective of the works of legendary documentary filmmakers D.A. Pennebaker and Chris Hegedus. This exclusive program block will feature eight films, some of which will be airing for the first time in the US. I’ve gathered the list of films — and the times they will air — below and have shared my own thoughts on each film. Have a look and see if anything catches your interest and be sure to stay tuned to The Documentary Channel for an opportunity to see a bunch of these films for the first time.

THE WAR ROOM
Saturday, Sept.4 at 8pm ET/PT

“The War Room,” premiering on DOC Saturday, Sept. 3 (8 p.m. ET/PT), was the name for Bill Clinton’s campaign center in Little Rock, Ark. Though the media was not permitted inside this small warren of chaos, filmmakers Pennebaker and Hegedus, managed to secure partial access and shot nearly 35 hours of footage. At the center of The War Room are the two men who guided Clinton’s ship from the beginning: James Carville, the fiery, charismatic, expletive-spewing Cajun who manages the campaign with a mixture of Southern charm and unrelenting passion; and George Stephanopoulos, the brilliant, handsome Rhodes Scholar who, as communications director, calmly but surely mobilizes his staff to take the presidency. Hegedus and Pennebaker’s camera follow these two masterminds as they organize and execute strategies for such events as the Democratic National Convention, the debates with George Bush and H. Ross Perot, and the final, nail-biting days leading up to the election itself, when it seemed less and less certain whom the voters would choose.

Whether you’re into politics or not (I’m not), The War Room is a fascinating look inside Bill Clinton’s 1992 presidential campaign. The film’s two lead characters, George Stephanopoulos and, particularly, James Carville, have great onscreen presence that exudes an infectious energy and an admirable level of confidence in what they do. I’ve always said that I could watch a documentary about pretty much anything and enjoy it as long as the people in the film are sincerely passionate about the subject matter. The War Room succeeds in its ability to capture the dedication of this hardcore team of campaign volunteers without being bogged down in partisan politics.

Of course this film is particularly interesting thanks to the controversy Bill Clinton faced when Gennifer Flowers came forth alleging a 12-year relationship right in the middle of his campaign trail. Watching Carville and Stephanopolous attempt to handle this piece of tabloid news is quite spectacular. It reminds me of the same sort of strategic wordplay on display in the Maysles’ Salseman. Every single decision is calculated and one wrong move can result in a massive shift in the public’s support of the candidate. One interesting discussion involves the decision to go with hand-made signs over printed ones. The size and colour of the letters and shape of the sign, itself, are all under extreme scrutiny. It’s almost like a police procedural or courtroom drama in the way the importance of details and strategies play out as a major factor in the direction of the narrative. Watching people who are good at what they do flex their muscles and show off their abilities is always fascinating.

TOWN BLOODY HALL
Saturday, Sept.11 at 8pm ET/PT

“Town Bloody Hall” makes its network debut on Saturday, Sept. 11 (8 p.m. ET/PT). The film covers the standing room only event featuring local literati and feminists who packed New York City’s Town Hall on April 30, 1971 to watch author Norman Mailer grapple with a panel of passionate feminists. The subject was Women’s Liberation, an issue on which Mailer seemed like the devil’s own advocate. There to test him was a fearsome panel of feminist representatives, among them journalist and lesbian spokeswoman, Jill Johnston; legendary literary critic Diana Trilling; president of The National Organization of Women (NOW), Jacqueline Ceballos; and possibly his toughest match, the glamorous and razor-tongued author of The Female Eunuch, Germaine Greer. On the streets, it was simply Mailer versus Greer in a knockdown debate on women’s liberation. The event turned into true theater for the celebrity-stuffed audience, who vigorously offered opinions and roared their approval and disdain throughout the raucous affair.

The presentation of Town Bloody Hall is extremely simple, playing out almost like a concert film or televised debate. The irony of Norman Mailer’s role as moderator is certainly not lost as he attempts to maintain control over the four women who’ve stepped forward to challenge him on his thoughts on the women’s liberation movement. It’s a recipe for theatre, resulting in a mostly out-of-control town hall meeting atmosphere that, at times, gets quite heated. Many members of the audience storm out of the theatre in protest, adding to the overall tension of the room. Even with all of this animosity, the event still retains an overall sense of humour, although it’s tough to tell when, exactly, Mailer is being serious or simply throwing coals on the fire.

At times, the intellectualism on display can be stomach-turning, but for the most part Town Bloody Hall is an entertaining and interesting social document. Unfortunately, there are some sound issues throughout the film. I did find it tough to hear what people in the audience were saying and even some of the panelists fell victim to some bad audio. Beyond that, it was a great time watching Mailer squirm and attempt to hold his own in this four against one bloodbath.

TWO AMERICAN AUDIENCES
Saturday, Sept.11 at 10pm ET/PT

“Two American Audiences” chronicles a discussion between legendary filmmaker, Jean-Luc Godard and New York University graduate students on filmmaking and politics, intercut with scenes from “La Chinoise.” The 40-minute short makes its U.S. television debut on DOC on Saturday, Sept. 11 (10 p.m. ET/PT).

Unfortunately, I didn’t get a chance to see this one.

DELOREAN
Saturday, Sept.18 at 8pm ET/PT

“DeLorean,” being telecast Saturday, Sept. 18 (8 p.m. ET/PT), focuses on the heir-apparent of the General Motors dynasty, John DeLorean, who in 1973 quit GM to start DeLorean Motor Company. Shot during 1979-81, this film is an inside view of DeLorean and his team as they take his vision of a stainless steel gull-wing-door car from the board room to the assembly line in Belfast, Northern Ireland. His new sports car would be the first new American car design in memory. John and wife, Christina Ferrare, first unveiled his new car at the auto show in Geneva to the excited world of car buffs; and to John’s modern assembly plant outside Belfast, which was unscathed by the periodic exchange of gunfire and fire bombing that took place in the nearby streets of Belfast. Here workers from both sides of the fray came to work every day through the same doors and peacefully – even as comrades – built the car that became the legend of the movie “Back to the Future.”

While the life story of John DeLorean is chock-full of dramatic ups and downs, Pennebaker’s and Hegedus’ 1981 documentary ‘DeLorean’ captures the pre-Back to the Future and pre-drug trafficking era of this automotive visionary, focusing on his attempt to take on the large automotive companies and market the world’s first stainless steel sports car. This film focuses mainly on the many board meetings and production meetings as we begin to see the DeLorean take shape. It’s clear right from the start that there are major problems to be overcome and knowing the fate of the company now, it’s interesting watching these men push forward in what is ultimately a sinking ship.

DeLorean faces reports of high production costs and general confusion from retailers and customers who aren’t sure what to make of such an unusual vehicle. In one scene, an early demo model of the car is put on display for the public to sit in: an attempt to get a sense of how they feel about this unusual vehicle. It’s a telling sign that almost everybody who exited the driver’s seat hit their head on the signature gull-wing door. DeLorean is a fly-on-the-wall look at a dreamer who may have gotten caught up in his own big ideas at the expense of his own reputation and the careers of those around him. It’s worth noting that there are currently a number of films in production that focus on the life of John DeLorean, including a new feature length documentary called Back to the DeLorean.

OPENING IN MOSCOW
Saturday, Sept.18 at 10pm ET/PT

“Opening in Moscow” follows “DeLorean” at 9:30 p.m. ET/PT in its U.S. television debut on Saturday, Sept. 18. The 45-minute feature from Pennebaker looks at the impressions of Moscow and its citizens under the regime of Soviet leader Nikita Khrushchev, centered around the opening of the 1959 American National Exhibition in Moscow’s Sokolniki Park. The exhibition, supported by President Dwight D. Eisenhower, was one of the first cultural exchanges between the U.S. and U.S.S.R. that served as a critical breakthrough to begin the thaw of the Cold War between the two super powers.

Opening in Moscow plays like a travelogue, providing a social document on the cultural divide between 1950s Soviet Union and America. The film is shot in colour — with a few black and white interludes — and focuses on the opening of the 1959 American National Exhibition in Moscow. I had expected there to be a little more focus on the logistics behind proposing such an event (I would imagine there would’ve been some interesting roadblocks during the process) and the planning and construction of the facility. We do see a bit of this in the first part of the film, but the majority of time is spent watching the Russian citizens marvel at the wonders of American life — via staged demonstrations — and in turn, looking at typical life in Moscow.

Thousands of people gather to witness such banal demonstrations as the loading and unloading of a washer and dryer by an actress hired to play the part of the stereotypical 1950s housewife. The fact that 95% of modern day Americans have a refrigerator in their homes is a revelation. All of this adds up to an interesting exploration of the Cold War era cultural divide between two of the most powerful countries in the world. One Russian woman questions America’s cultural identity, suggesting that such a thing might be lost within the convenience of technology. Clearly the imagery throughout the film supports such an idea, exploring the contrast between life in Moscow and the ultra-mod demonstration of American living on display in the exhibition.

AL FRANKEN: GOD SPOKE
Saturday, Sept.26 at 8pm ET/PT

“Al Franken: God Spoke” makes its U.S. television premiere on Saturday, Sept. 25 (8 p.m. ET/PT). Shot over the course of two years, the film is a cinema verité pursuit of Al Franken which follows the former “Saturday Night Live” comedian, turned best-selling author and satirist, from his highly publicized feud with Bill O’Reilly over Franken’s blockbuster “Lies and the Lying Wars Who Tell them,” to his relentless campaign against George Bush and the Right Wing in the 2004 election, and beyond. From his USO tour in Iraq, to the studios of liberal radio network Air America and onto the campaign trail, co-directors Hegedus and Doob are granted access to one of the most effective political satirists of our time. Franken fearlessly confronts pundits and politicians, blurring the boundaries between political satire and impassioned citizenry. Featuring a host of beltway insiders including Ann Coulter, Michael Moore, Al Gore, Robert Kennedy Jr., Sean Hannity, William Safire, Karen Hughes and Henry Kissinger, the film is an often-hilarious look behind the front lines of the media wars during the most contentious election in recent history.

I guess it’s tough to make a film about Al Franken’s emergence into the world of political commentating without including politics but something about the obsessive nature of the opinions in this film were a bit of a turn off for me. It’s not that I disagree with much of what Franken says, it’s just the way in which it’s communicated. Quite often both sides resort to extremely juvenile tactics — Franken slamming the table like a frustrated child during a discussion — with a staunch stubbornness that completely overshadows any sense of passion or sincerity. But, hey, that’s politics for ya!

Having said that, I do think the film contains some entertaining and enlightening moments that give us an inside look at the life of a political commentator and, in Franken’s case, what happens when it conflicts with his role as an entertainer. This is probably best represented by a scene in which Franken meets Henry Kissinger face to face and can’t help but treat him to his spot-on Kissinger impression, made famous on Saturday Night Live. We see the creation of Air America and are teased with Franken’s decision to run for senate. As we know now, he succeeds in his goal. Unfortunately, his election likely ended any possibility of a follow up to Stuart Saves His Family.

CHIEFS
Saturday, Sept.26 at 10pm ET/PT

“Chiefs” is an 18-minute documentary short from filmmakers Richard Leacock and Noel E. Parmentel, Jr. along with Pennebaker that premieres Saturday, Sept. 26 at 10 p.m. ET/PT. The film provides an inside look at the Police Chief’s Convention in 1968 located in Waikiki on the south shore of the island of O’ahu, Hawaii. This film features interviews with police chiefs and their wives as they discuss the Black Panthers, the Chicago Democratic Convention and the latest weaponry.

Clocking in at just under 20 minutes, Chiefs is an interesting look at a 1968 police chiefs convention. Again, this film works as a great social document, providing an interesting perspective on the types of non-lethal weaponry used by police in an era famous for demonstrations and protests. Actually, I was quite surprised to see that much of the weaponry these retailers are attempting to hock aren’t too dissimilar to what I assume cops use nowadays. There’s also some interesting discussion about the Black Panthers and the overall public distaste for law enforcement. I think the mere choice of this subject matter for a documentary film speaks for the opinions of the filmmakers when it comes to the use of force by law enforcement during such volatile times.

DAYBREAK EXPRESS
Saturday, Sept.26 at 10:30pm ET/PT

“Daybreak Express” is a five-minute short and Pennebaker’s first film, debuting on DOC Saturday, Sept. 26 at 10:30 p.m. ET/PT. The documentary details a New York City train ride synced to one of Duke Ellington’s records, “Daybreak Express.”

This five minute short is a beautifully rendered energetic collage of whipping and whizzing subway cars in front of a morning sunlight-drenched 1950s New York City, set to an appropriately bombastic piece of music of the same name by Duke Ellington. Pennebaker’s use of layers and textures and darks and lights makes for a very modern piece of filmmaking that has aged extremely well (this film was shot in 1953!). It’s a great piece of abstract documentation. This was actually one of my favourite films of this line up.

The Documentary Channel is primarily available through satellite television services DISH Network (Channel 197) and DIRECTV (Channel 267).

About Documentary Channel®: Documentary Channel (DOC) is the USA’s first 24-hour television network exclusively devoted to documentary films and the independent documentary filmmaker, providing viewers with round-the-clock opportunities to see fascinating, eclectic and award-winning documentary films of all lengths and genres. For more information on DOC, visit www.documentarychannel.com.