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Powerful

The film's masterful storytelling did its job. The message was clear. No need to overdo.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Marwencol is an excellent documentary which tells the story of Mark Hogancamp, who was assaulted by five men outside of a bar and left severely brain damaged after nine days in a coma. He had no memory of his former life. As a form of therapy, Mark slowly builds a 1/6 scale Belgian World War II era town he names after real people; Mark, Wendy and Colleen. He uses dolls to represent himself and his friends and gives them story lines. He eventually photographs his work and after publication in a magazine, his work is discovered by a New York art gallery; this is a simply amazing story. Mark has somehow survived against all odds and Marwencol will almost restore your faith in humanity.

This is a very unusual documentary about a very unusual guy -- Mark Hogencamp, a sort of "artist by accident". 10 years ago, Mark was beaten almost to death by thugs in a local bar.Before the accident, he was a severe alcoholic, living a very marginal existence anyhow (in some important ways, MORE marginal than his life after brain damage) and left confusing diaries about his anger, drinking and violence. He was also a pretty accomplished amateur artist, whose drawings focused on images of violence, WWII, busty women, etc.It is fascinating how this "lost self" rematerializes in the post-injury Mark, who is so terribly damaged and has few memories of his former self (so much so he can't remember the woman he was once married to), by coming out in an odd hobby; Mark designs and builds little sets on which he displays various GI Joe-type dolls and Barbies in WWII scenarios, based less on history than odd re-tellings of his life and his attack (in his fantasies, his attackers are "Nazi SS").Bits of what memories and recollections he has, his romantic fantasies, his old drawing skills, his fears and anger about being attacked, themes of romantic love and violence, fascination with WWII (long time before, I think, even his parents day) all weave together in a narrative that has come to represent this lonely man's whole existence. That he documents his tableaux in snapshots, and that these were blown up and exhibited in a gallery show, are the underpinnings of this documentary.I approached this as not just a viewer or fellow artist, but as a fellow adult doll and toy collector. Mark is FAR from the only adult to collect expensive dolls and reproductions and to display them elaborately; unfortunately, I think the filmmakers and their New York art gallery sensibility simply do not understand this, and assume it is a unique form of "insider art". (It isn't; for every Mark, there are a thousand "Lisa's" displaying expensive dolls in elaborate settings with elaborate story lines. However, the likelihood is these female collectors do not have a dramatic back story about mental illness, brain damage, violent attacks or lifelong disability).Marwencol itself is fascinating, though the filmmakers dodge in and out of it, so that we can't quite get a handle on the scale of it. To my seasoned eyes, it appears to be about the size of small patio -- the whole thing is outdoors, surprisingly in a winter climate -- and built crudely out of plywood. The power of the tableau derives almost entirely from the sophistication of the dolls, and they are NOT dolls Mark has created, but purchased "ball jointed" dolls (for the most part; he has some female Barbie's of the ordinary toy store variety) that are like WWII versions of GI Joe; very pose-able and with hyper-masculine faces. These types of dolls DO look astonishing real, with many points of articulation, but the filmmakers seem obtuse to the fact that MANY people buy these and pose them, though perhaps not to Mr. Hogencamp's obsessive degree. They would not EXIST on the market if there was not a significant demand (and for these WWII homage-type dolls, their audience is 95% male).It would have considerably more power here if Mark was a savant, who CREATED these dolls, out of wax or wood and paint...if he sewed the tiny, astonishing detailed clothes or carved the tiny amazing (working!) guns. BUT HE DOESN'T. He just BUYS them.And frankly, here is where I had a disconnect with the message of the film: if he's just buying stuff, and setting it up, he's not that unusual. This is what such dolls are DESIGNED FOR; a sophisticated (and expensive) kind of adult play. (They are not produced for children; not at all.) That means Mark isn't so unusual and his attraction to this kind of play is not a sign of his brain damage or mental illness.Secondly: because they failed to look into where he gets the dolls (or why there is a market for such dolls), they never ask "what does such a doll cost? and how does a very poor, mentally ill brain damaged man on SSDI afford them?" Because one thing such WWI reproductions are is very costly: I'd say roughly $50-100 per doll. And Hogencamp owns HUNDREDS of dolls, thousands of accessories, jeeps, etc.Mark lives in a sad little trailer by the side of a busy road, yet he's spending $1000s in taxpayer support on collectible dolls? I don't begrudge him a hobby or a few dolls, but this isn't "a few dolls". This is tens of thousands of dollars of dolls, accessories and photography.I also wondered a bit about the fact that the entire Marwencol is constructed OUTDOORS, in upstate New York -- a harsh winter climate. It's pretty fragile, and it won't take much to turn it into rubble. Not to mention such pricey dolls and accessories were not designed to sit out of doors in all kinds of weather (even exposure to sunlight will wreck them in short time). What then? Mark is so vested in identity with the dolls (most of whom are designed or chosen to resemble specific people in his life, including himself), I wonder how he'll cope with that inevitable destruction.A very interesting documentary, that could have dug deeper and asked more questions, but which has an strange kind of power. Enough so that I will probably view it again.

thefilmsmith.comFictions play a foundational role in our society. We encounter many of these fictions as images that feel bigger than we are, juggernauts projected onto the world we inhabit: social constructions of monetary value or race, or images on television considered synonymous with reality. In Marwencol we see the process from the other end as we follow a man who chooses and controls his fictions, projecting his real-life traumas onto a 1/6 scale world as alternative therapy.On April 8, 2000 Mark Hogancamp had his memories literally beaten out of his head by five guys outside a New York bar; the film follows his life in the aftermath of the attack. After being kicked out of the hospital (he can't afford to stay), Mark seeks out an artistic outlet to continue his therapy. The nerve damage from the attack makes his hands too shaky to continue drawing, so the local hobby shop turns him to miniatures. Mark quickly becomes absorbed in his new hobby and creates a whole town called Marwencol, populated by World War II figurines. Painting minute details helps steady his hands, and the scenarios he creates between the dolls exorcise vengeful thoughts and allay loneliness. When Mark's photographs of Marwencol catches the eye of an art publication, an upcoming gallery exhibition of these photos becomes his newest challenge.Mark's confessions about himself and his uses of Marwencol make the film uncomfortably intimate, but with touches of disarming charm. You'll wince as he hugs a doll based on a girl he has a crush on, and be horrified at the violence his characters enact upon the SS soldiers who torture his personal wax avatar (a stand-in for the attack he experienced). Mark blithely confesses to enjoying the power of manipulation in Marwencol, but he's so childlike in his earnestness that it's hard to feel truly threatened. Contextualized by the physical and mental trauma of his attack (PTSD is quite evident), the film allows you to sympathize with Mark, not treat him like a sideshow freak.Which is a strong credit to director Jeff Malmberg. For someone so shy, Mark opens up without reserve to the audience; this seems evidence of his trust in the filmmaker, who spent four years shooting the documentary. It's obvious that Malmberg didn't shoot the film on 35mm, as Marwencol doesn't display the visual slickness of major studio films, but the DVCam look fits with the film's personal narrative and allows Mark's quality photographs to truly pop.And let us not forget about Mark's world. Marwencol is amazingly detailed, to the point that at times I didn't know if I was seeing a shot of a bar in real life or the one in Marwencol – "Hogancamp's Ruined Stocking Catfight Club " (don't worry, all the catfights are staged). Given Mark's attention to detail and his skills as a photographer, it's no wonder art galleries come calling. Though Mark verbally details dealing with the beating, it's through his images of Marwencol that we get a visual understanding of his loneliness and anger.The film does seem to throw a curve ball in the last half hour to drag out its runtime, but the film is enthralling, if for nothing else the continuous discovery of Marwencol and its story lines. Despite Mark's position as a strange, but nice guy almost beaten to death in 2000, he's not a victim – and that might the film's greatest triumph.Fascinating, captivating, funny, you've got to see this.-Remington Smith PS This American Life (the TV show) did a segment a while back that featured Mark and Marwencol. Since Marwencol is in limited release, you can check out that episode of This American Life on Netflix instant streaming (Season 2, Episode 3, "Going Down in History").

please note: I don't think there are really any spoilers below - my comments are kept sufficiently vague so as to preclude giving anything away!-------...that this man's story ain't over yet and the film's rather downbeat conclusion, was, I felt, a bit premature, at best. Perhaps I'm overly optimistic (this is not something I'm ever accused of though, lemme point out) but I think better times outside of his backyard "town" await Mark Hogancamp in the big wide world.And even if his life continues along the same lines . . . I have a problem with the film's ending on a more general level - even if the last line spoken comes straight from the horse's mouth - on account of the 'tragic' overtones resulting from its placement at the very end of the movie.Typically in the case of portrayals of such "outsiders" as MH, there is, I suspect/feel, misplaced pity directed at such folks whose unconventional lives and choices might seem to the average person restrictive or even out and out depressing and pathetic. It seems to me, contrarily, that what a "special" person of this sort is up to in his private/fantasy dimension ought not so automatically to be "compared" to various facets of the lives of more ordinary people, finding it lacking. Rather, the art/therapy practice of a person like Mark Hogancamp should be envied as something extra, and extra special, in fact, which option, sadly, is denied most of your so-called average persons, consigned to what Thoreau famously referred to as "quiet desperation"! I, at any rate, do not feel so sorry for Mark Hogencamp, in spite of some of the rough circumstances that form the basis of his existence.He certainly isn't devoid of charm. :)