'City Hall' Review: Frederick Wiseman Can Even Make Local Government Exciting Filmmaker Frederick Wiseman, now 90, has a gift for making riveting cinema from the minutiae of the everyday. His latest is a four-and-a-half hour documentary starring Boston City Hall, pre-COVID-19.
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An Action-Packed Doc About Local Government? It's All In Wiseman's 'City Hall'

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An Action-Packed Doc About Local Government? It's All In Wiseman's 'City Hall'

Review

Movie Reviews

An Action-Packed Doc About Local Government? It's All In Wiseman's 'City Hall'

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DAVE DAVIES, BYLINE: This is FRESH AIR. "City Hall," the latest documentary from the prolific Frederick Wiseman, is an in-depth 4 1/2 hour study of the inner workings of Boston's City Hall. It's now streaming in virtual cinemas. Our film critic Justin Chang says that its complex but inspiring vision of government in action makes it an ideal movie to watch before or after the upcoming election.

JUSTIN CHANG, BYLINE: Frederick Wiseman's new documentary, "City Hall," was shot in 2018 and 2019, which means that it already plays like a pre-COVID time capsule. I'll admit I spent at least some of this long and absorbing 4 1/2 film picturing what the 2020 version might look like - a disaster movie, perhaps, about dedicated civil servants frantically trying to help their communities survive unprecedented disruption. And, of course, Wiseman's signature scenes, the workplace meetings where budgets are broken down and bureaucratic procedures are hammered out, would have been shot as a series of Zoom sessions. I'd probably watch it anyway, such is Wiseman's gift for making riveting cinema from the minutia of the everyday.

Still, I'm grateful for the version of "City Hall" we have before us - a sweeping, panoramic vision, both hopeful and tough-minded, about how local government works and sometimes doesn't work. It's the 45th feature directed by the now 90-year-old Wiseman, who has spent more than six decades capturing the intimate bustle and flow of life in America's institutions in films like "High School," "Hospital" and "Ex Libris: The New York Public Library."

"City Hall" is one of the few films Wiseman has shot in his hometown, Boston - not that you'd necessarily know about that connection from the film. While Wiseman's style is never impersonal, he avoids familiar documentary techniques, like commentary or narration. His camera eavesdrops on meetings where city employees discuss issues like homelessness, substance abuse and unemployment, as well as their particular impact on communities of color. He also breaks up the flow by taking us outside those conference rooms. We witness a lesbian couple's wedding, a Chinese New Year celebration and a Thanksgiving dinner for people with disabilities. These moments are braided together with beautiful shots of Boston's streets and buildings, including the imposing concrete fortress of City Hall itself.

Wiseman's films don't really have protagonists, but with "City Hall," he almost makes an exception. The person we spend the most time with, not surprisingly, is Marty Walsh, the city's Democratic mayor, who at one point seems to be taking us along to every meeting and public appearance on his busy calendar.

We see him giving a sobering speech about the city's response to a rash of shootings. A little while later, we see him at Fenway Park, happily celebrating the Red Sox's 2018 World Series victory. In this scene, he informs senior citizens about the resources available to them through the city's Elderly Commission.

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MARTY WALSH: All of us, we're - as you get older, you take prescriptions for high blood pressure, for cholesterol, whatever it is you have. And it's important that we understand - there's more health risk as you get older because the body breaks down a little bit. So there's more chance you're going to be on a prescription as you get older, and we need to make sure that that's covered. So the answer is we have to look, legislatively, at fixing that. One of the reasons why we have the Elderly Commission is to advocate on your behalf. The people that work for the city work for you. We're there to service you. So take advantage of that opportunity. Take advantage of that office. Ask questions. They'll get the answers.

CHANG: Walsh has an empathetic touch. At one point, addressing some of his Latino constituents, he criticizes the Trump administration's attacks on people of color and reflects on the discrimination endured by past generations of his Irish Catholic family. In another scene, he attends a fundraiser for nurses and reminisces about the kindness of the care he received as a child cancer patient.

Sometimes he overreaches in his attempts to relate to his fellow Bostonians, but it's moving to see him make the effort. And he seems genuine in his belief that municipal government can effect real, beneficial change in his citizens' lives.

At heart, Wiseman seems to share that conviction. He's spent an entire career chronicling the work of individuals and establishments doggedly trying to make a difference. But he also understands that empathy and good intentions have their limits, especially in a system that often treats serious problems with one-size-fits-all solutions. As much as we see of Mayor Walsh early on, there are lengthy stretches where he's conspicuously absent. We're reminded that he can't be everywhere at once. He's the public face of a government that, like most governments, fails at least as often as it succeeds.

The movie's most extraordinary sequence takes place at a public meeting over a cannabis dispensary that is about to open in Dorchester. The store owners, who are Asian American, speak loftily about the economic benefits they'll bring to the community. The residents, many of them Black, push back with concerns about traffic, safety and crime. As the debate continues for several minutes, Wiseman keeps cutting between the two equally defensive sides, showing us just how difficult real communication can be in the face of profound racial and economic differences.

Fortunately, not every problem is so intractable. One of my favorite scenes shows two different men trying to get their parking tickets excused and successfully doing so with a mix of earnest excuses and humble, open-faced charm. It's a sweet throwaway scene, but it feels almost utopian in its sense of how government should be - competent, efficient and deeply human. As "City Hall" reminds us, our institutions don't always rise to that standard, even at the best of times. They're at once fragile and resilient and forever in a state of flux. No filmmaker has ever captured that as clearly as Frederick Wiseman, who has become an enduring institution himself.

DAVIES: Justin Chang is the film critic for the LA Times. He reviewed Frederick Wiseman's new documentary "City Hall," now available at virtual cinemas. You can check the Zipporah Films website for listings. On Monday's show, we speak with Aaron Sorkin. His new Netflix film "The Trial Of The Chicago 7" dramatizes the infamous Chicago trial of prominent anti-Vietnam War protesters accused of conspiring to start a riot at the 1968 Democratic National Convention. Sorkin sees some parallels between the political divisions of the late '60s and today. I hope you can join us.

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DAVIES: Halloween is tomorrow, and our staff is looking just a little scarier today. FRESH AIR's executioning (ph) producer is Dan-eek (ph) Miller. Our technical director and engineer is Audrey Boo-tham (ph). Our interviews and reviews are produced and edited by Amy Sss-alit (ph), Phyl-hiss (ph) Myers, Sam Brigerrr (ph), Lauren Kren-zombie (ph), Heidi Sa-monster (ph), Therese's Mad Man (ph), Ann Eerie Boldanado (ph), The-ahh Cauldroner (ph), Seth Skelleyton (ph) and Kayla Bat-timore (ph). Our associate producer of digital media is Molly Scary-NesBoo (ph). Roberta Shriek (ph) directed today's show. For Terry Eww-Gross (ph), I'm Grave Gravies (ph). (Laughter). Be safe. Have fun (laughter).

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