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Too much of everything

The Worst Film Ever

Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Where to begin? This was one of those unintentionally hilarious documentaries, like 'Kurt 'n Courtney', or 'American Movie', that no writer is creative enough to concoct. As Kubrick said, "Reality is more inventive than human beings." This truth is continually demonstrated here.The premise is a perfect set-up for continued conflict to see a formerly-rich, conservative Islamic kid flown to the Czech Republic to help liberal Hollywood Jews (not that there's anything wrong with that) to assist with a real Hollywood film.I have a special distaste for Hollywood politics, and evidently, this guy was very comfortable biting the hand that fed him. Apart from the significant cultural divide between he and his benefactors, he was a fan of the Iraq war, for one. Um, he doesn't believe in kissing ass. He's not some poor, unsophisticated brown guy who's happy to take orders and perpetually 'play the game' to get into Hollywood.And there's something truly awesome about that.I write my own independent films, and good writing isn't easy. Getting exposure to inspired storytelling is great, but sometimes only a documentary can capture the richest poetry in life, because it's real. This documentary is a great example of that.The subject - whose name I didn't bother to look up - does have a certain charisma, a certain dignity and honesty. And yet, he squanders opportunities (whether you believe in sucking up to effete, phony Hollywood people or not), has no sense to prepare for the future, and even goes so far as to ask the star of a film he's PA'ing on (The Rock) for money for film school. He seems highly adept at humiliating himself.I don't know how much of his due to his young age, or cultural differences, or subconscious fears of failure, or because he just doesn't see the shame in that, but, miraculously, he continues to reap windfalls by virtue of having escaped the Iraq War.The film does resolve itself, which is great. It meanders a bit, but in the end, the guy has this amazing sort of confessional, which indicates he knows more than we might suspect. He's a dreamer. He doesn't believe in sucking up. He will 'make it' because he's 'true'.What's amazing about this film is: everybody at age 22 believed these things. And often they get thumped pretty good by life for such naivete. In this film, we see an honest dreamer amid phonies, suck-ups, people fearful of being real, incapable of confrontation (a producer at one point walks off, and then returns to confront him about some pretty plain wrongdoings), and really messing them up.They can't seem to understand why he isn't more grateful to them.In this way, it's a whole lot like the Iraq War. What's that they say about 'the road to hell being paved with the good intentions'?

I felt this film was a study of ulterior motives; and after watching it, it left me focusing on the behaviour of the members of the film crew rather than Muthana's deeds. Muthana's journey out of Iraq is presented as an altruistic experiment; but, much like the invasion, the ramifications are ill-thought and the gesture is meek.It seems that much of US politics focuses on character, so I can see why a person might judge this film on the personality of it's main-player; but I think that it would be an error to summarise 'Operation Filmmaker' based on a reflection of Muthana.In my opinion, it's unfortunate that the previous poster has overlooked the fact that Muthana was engaged in a project that seemed more focused on professional vanity, than genuine support.Part way through the film, some members of the crew express their displeasure that he wasn't more humble and willing to chip-in, but I'm left thinking that this may have been because he didn't meet the specific narrative objectives that they had imagined he'd fulfil. The decision to document the project from the very beginning, in some way seemed testament to this.I came away thinking about how the war in Iraq has affected Iraq's society in complex ways. We're often informed of what the 'Iraqi citizen' thinks – but we're rarely exposed to the idea that there is no general consensus. The society of Iraq is often trivialised and compacted into a monoculture – it's strange and bizarre that we're able to accept this.The film is interesting on many levels and it feels like the result wasn't expected by those involved in the project – which makes the journey all the more engaging. Mostly it reminded me of the importance of conviction – and the folly involved in trying to absolve guilt using superficial means.

Here's another documentary where the filmmaker is sent on a mission and must hang on for dear life when it all heads in a different direction. Nina Davenport deserves credit for climbing back on even when her subject, young Baghdad film student Muthana Mohmed, stops the filming. Her success is perhaps best measured by the degree to which her film is infuriating and frustrating to watch--and quite possibly embarrassing to all concerned.In 2004 about to direct 'Everything Is Illuminated', famous actor Lief Schreiber sees Muthana on MTV in Baghdad holding forth in fluent colloquial English about how the US invasion has destroyed his film school. Wouldn't it be a good idea to rescue Muthana from this situation, Schreiber thinks, by bringing him to the Czech Republic to work as an intern on the set of 'Everything Is Illuminated'? Actually, it's not really a very good idea at all. It's the kind of hasty, ill conceived do-gooding Americans are famous for, based on no very careful consideration of the people involved or the consequences to those most directly concerned. To begin with Schreiber et al. don't know much about Muthana and his background--or about Iraqi or for that matter general Arabic culture. Nor is Muthana prepared for interning on an American movie set. Most probably that wasn't the kind of job this upper class boy was ever looking for in going to film school.But much more importantly this is a bad idea because, given the current situation, the very circumstances that disrupted Muthana's film school, no young Iraqi in his right mind, once out of Iraq, is likely to want to go back. Schreiber didn't think of that. It wasn't part of feeling good. He did prepare to record this, his "good deed," by setting up somebody through MTV--Ms. Davenport--to make what was expected to be a heartwarming documentary about Muthana's wonderful experience as an intern on his movie. Instead, he got this film, which is hardly heartwarming even for a minute. It's safe to say that nobody looks very good in it, not even Ms. Davenport. It's true everybody is strained to the limit. But whose fault is that? Should we blame MTV? Davenport encouraged Muthana to be himself. Uh-oh. He disappoints the film's Jewish liberal producer by declaring "I love George Bush—he changed my life" and no doubt offends everybody on hand by referring to 'Everything Is Illuminated' (which incidentally fared worse critically than this documentary), a film that deals extensively with the Holocaust, as "a movie defending the Jewish theory." But that's just a passing remark; he doesn't dwell on it. He is, over time, somewhat furious that--especially after arriving as a kind of celebrity--he gets put to work as a lowly gofer's assistant serving producers vegan tidbits. "What the f---!" he tells Davenport's camera, "The most important scene was rolling on the set while I was mixing the snacks!"Contradictorally, Muthanna has been given a posh apartment in Prague--and this crap job he doesn't know how to do. Since he doesn't warm to the task, the fault-finding soon begins on his hosts' part. One person says he ought to have sucked up to somebody really big time right at the start, so he'd be taken care of later. He's pulled in many directions, with desperation at the edge. He's supposed to edit the movie-wrap gag film in 48 hours (why 48 hours?) He misses the deadline, because he goes to a big party. He had to, he says; they were his friends! He's a sociable guy; he's also basically just a kid, rather a handful, with a lot of personality, and not the hardest worker around. Looking no doubt for their own exit strategy, the producers and Schreiber go about finding fault with Muthana as a slacker and an ingrate. Which of course in a way he is.But there's also the desperation. Videos come from his fellow students and family in Baghdad, warning him for God's sake not to come back. His Czech visa is running out. He gets it renewed several times. The film wraps. The gag film is shown. Muthana says he helped on it. It makes Elijah Wood ecstatic. He asks Muthana if he has email. The 'Illuminated' crew departs. Muthana stays on--he gets hired on the spot as a gofer for 'Doom,' a sci-fi horror action adventure being shot in Prague starring The Rock, Dwayne Johnson. He shapes up as a gofer, does his job now with a smile, plays up to The Rock, who thinks he's a hero (like him!)--and shakily, gets The Rock to donate the money so he can transfer to a film school in London. Meanwhile, Muthana's finances are more and more on the edge, and he keeps hitting people up, notably Davenport, who doesn't like it. She wonders why he doesn't run out and get a job, any job, when he gets to London and has all of three pounds in his pocket. This is when he absolutely and finally refuses to continue with her film.When he lets her back, he's completing a year of the London film school and he tries to blackmail her into giving him more money demanding ransom for some film he's holding. He's humiliated because he wasn't chosen to direct a film at the (obscure) London school: he's just an assistant cameraman on another student's film. The question is, what is he going to do next? Some say he could be an actor, and an admissions person at the New York Film School says, viewing a video he's sent, "He's very, very castable in today's market." According to Davenport in a post-film interview, Muthana has been given asylum in England for five years.And this is what happened. A documentary can do no more than tell us that, and Davenport's film is well edited to show everybody as truthfully as she could.

A young film student gets himself on MTV expressing his feelings about his dreams of becoming a film maker being shattered by first the dictator ruling over his country of birth, Iraq, and then by US that bombed it. This show gets seen by an American film maker that wants to give him a chance of a life time and invites him to come to Prague to help and learn during a film he is making there.This documentary starts there, as the student arrives and starts helping along in the making of the film and gets introduced to all the various angles to making one. As it continues it shows the changes in the student and his surroundings and the way he deals with that.Being a typical documentary this film doesn't have any special effects whatsoever - except for the occasional ones seen when they arrive at the scene of a film that uses them. It uses a very direct and personal approach and the maker of the documentary herself gets fairly involved with the person she is filming and that makes it very close but also very nice to watch. It's a bit like reading some ones personal diary but with them standing right next to you and commenting on what you are reading.It is easy to judge the film student but for me that isn't the point of a film review. As a documentary I can rate this fairly highly as it uses an interesting approach that keeps one bound to the chair during its full length.8 out of 10 film makers interrogated