Huie’s Sermon is almost entirely comprised of footage from a single sermon at the Bible Way Church of Our Lord Jesus Christ church in Brooklyn. Apart from the closing shot of Bishop Huie, the film is entirely faithful to the observational form – it contains only two judiciously placed cutaways which show us the deserted ghetto slumland outside.
Huie’s uncut oratory about societal decay, war and economics eventually climaxes into rousing pentencostal song, chorused by the entirely black congregation who, at Huie’s charismatic behest, “step to Jesus”. It all gets a very Sexual Chocolate.
Huie’s message, while being somewhat progressive, also smacks of Christian conservatism as he sweats out moral guidelines denouncing everything from homosexuality to pollution.
While not exemplary of his usual style, Huie’s Sermon exhibits many traits of the classic old school Herzog style.
Titicut Rating: 3.5 / 5
Info
Directors: Werner Herzog, Year: 1981, Country: West Germany, Runtime: 43 min
Like many good documentaries, Streetwise came to life after Martin Bell read an article about the homeless situation in downtown Seattle. This Academy Award nominated film depicts street robbers, junkies, whores, fags and squatting bohos as you’ve never seen them before. Your average New York ’street’ doco pales in comparison. Streetwise gets straight into the subcultural underpinnings of street life in a raw observational style.
The film’s humanising perspective is bolstered by interview-style narration from by the street kids. Not once are we confronted with ‘talking-head’ interview footage, with Bell instead opting to cut the extensively captured dialogue to observational footage of each character. As they roam the streets and interact with one another, the city and its occupants literally pass the kids by. Pedestrians rub shoulders with the kids, oblivious to the various altercations which take place as part of their daily life. Through masterfully shot footage, captured by a very small production crew, we are made constantly aware of the kids underclassed existence; they are the forgotten, failed and ignored products of a modern society.
The film is peppered with cautionary, to-the-point insights from its young teenage subjects, who all speak in the insightful manner of adults far beyond their own years. While they convey their philosophies on survival practices; comparing the relative virtues of ho’ing versus dumpster diving, these shocking realities are mitigated by child-like moments that occasionally seep through. The kids have crushes on each other, they laugh and joke like any 14 year olds might do, but these relationships seem ersatz and exist, it seems, for reasons of survival more so than comanionship.
The kids are not completely dispossessed however, and we eventually hear from some of the parents, who predictably have problems of their own. One mother states in denial, that her teen prostitute daughter is ‘just going through a phase’, while an imprisoned father attempts to discipline his street kid son from behind bars.
The only respite from all this is the film’s hilariously dated, diagetic 80s music. Oftentimes, The Eurythmics or The Human League can be heard emanating from boomboxes on the street. In fact, the only non-diagetic music (that which is added in post-production) comes during the final moments of the film, as provided by a well-meaning Tom Waits. The lack of post-production glitz shouldn’t scare you though, as its entirely congruous with the style and subject matter of Streetwise.
In my travels I’ve read of a follow up film which was produced 20 years after Streetwise. It picks up on the story of Erin (Tiny) who is now apparently a middle-aged mother. It’s great to know at least one of the film’s characters is off the streets, but this probably won’t be of much comfort when you are watching Streetwise.
Titicut Rating: 4.5 / 5
Info
Director: Martin Bell, Year: 1984, Country: USA, Runtime: 91 min
Huie’s Sermon is almost entirely comprised of footage from a single sermon at the Bible Way Church of Our Lord Jesus Christ church in Brooklyn. Apart from the closing shot of Bishop Huie, the film is entirely faithful to the observational form – it contains only two judiciously placed cutaways which show us the deserted ghetto slumland outside.
Like many good documentaries, Streetwise came to life after Martin Bell read an article about the homeless situation in downtown Seattle. This Academy Award nominated film depicts street robbers, junkies, whores, fags and squatting bohos as you’ve never seen them before. Your average New York ’street’ doco pales in comparison. Streetwise gets straight into the subcultural underpinnings of street life in a raw observational style.