Saturday Matinee: The Murder of Fred Hampton

Fred Hampton, founder of the Illinois chapter of the Black Panther Party for Self-Defense, was assassinated by a special unit of the Chicago Police Department on December 4th, 1969 as he lay face down in bed. He was 21 years old when he was murdered. The police fired 99 unanswered shots into his apartment, wounding Fred as he slept. Apparently drugged by an informant, Hampton was unable to awaken. After the raid the police put two more shots into Hampton’s head and said “Now he’s good and dead.”

This film follows the last year or so of Fred’s life and the investigation immediately following his murder.

The first part of the film shows Fred speaking and organizing and provides a brief glimpse into the Panther community programs such as free breakfasts for school children, as well as a fairly good portrayal of Hampton’s dynamic speaking abilities, vast depth of knowledge for someone so young, and his passion for the revolutionary struggle of all oppressed people worldwide regardless of race.

The remainder of the film focuses on Fred’s murder including footage of the crime scene. The attacking police unit was so secret that the local precinct was not notified to clean things up after the bodies were removed. As a result the Panthers and their attorneys filmed and collected a vast amount of evidence which proved the police and states’ attorneys were lying. The police and government arguments are given, interspersed with contradictory proof by the Panthers and their attorneys proving that this was not a raid gone sour, but rather a carefully planned assassination. The photo of the police smiling joyously as they carry Hampton’s body out of the apartment is ominous.

This film was made right after Fred Hampton was murdered, and before the Panthers were aware that one of their own – William O’Neal – was actually an FBI informant who provided the police with the map of Fred Hampton’s apartment. It was also filmed years before the information about the FBI’s COINTELPRO campaign was made public. It is a great piece of history which gives a rare fair treatment to the Black Panther Party.

Watch the full film here.

 

Saturday Matinee: Soaked in Bleach

You Decide: “Soaked in Bleach” expounds on the events leading up to Kurt Cobain’s death in 1994

By Bryan Thomas

Source: Night Flight

In 2015, Benjamin Statler produced, wrote and directed Soaked in Bleach, a docu-drama that expounds on the events leading up to the death of Nirvana‘s Kurt Cobain as seen through the eyes of a private investigator, Tom Grant.

The former Los Angeles County Sheriff’s Dept. detective turned private investigator — who had an exemplary resume and a spotless reputation — had initially been hired by Courtney Love on Easter Sunday 1994 to track down Cobain, who had gone missing after checking himself out of a drug rehab facility.

Soaked in Bleach focuses mainly on Grant’s investigation between April 1st and April 8th, with a particular focus on what may have happened on April 5, 1994.

At the time, the official Seattle Police Department incident report stated that “Kurt Cobain was found with a shotgun across his body, had a visible head wound and there was a suicide note discovered nearby.”

The coroner’s report later estimated that Nirvana’s 27-year-old musician and lead singer’s body had been lying in the “greenhouse,” a mussy little room over the garage at Cobain and Love’s Seattle home, for three days.

It was later determined by local Seattle police detectives that Cobain had committed suicide by a reported self-inflicted gunshot wound, but right from the beginning there were major doubts as to whether this ruling was correct.

This was due in no small part to Grant, who carried on his own investigation, eventually coming to the conclusion that Cobain had been murdered, and his death had been made to look like a suicide.

Grant — who never met Cobain when he was alive — came to realize that Cobain wasn’t the hopeless basketcase his wife had made him out to be, and he could find no one, no family member nor any of Cobain’s close friends, who believed he was suicidal.

In 2014, the Seattle Police Department released a number of photographs from the crime scene, and in 2016 previously-undeveloped film was also shared with the public for the first time.

The docu-drama unfolds like a narrative crime thriller, interwoven with cinematic re-enactments, interviews with key experts and witnesses — including Norm Stamper, ex-chief of the Seattle Police Department; Cyril Wecht, forensic pathologist and former president of the American Academy of Forensic Science; and, Ryan Ainger, Nirvana’s first manager — and the examination of official artifacts from the case, which are analyzed in the minutest details, including crime scene photos, autopsy reports and someone’s “cheat sheet,” which showed they were trying to mimic Cobain’s actual handwriting for the fraudulent suicide note.

Soaked in Bleach‘s dramatic re-enactments feature actor Daniel Roebuck as Grant.

Night Flight fans may recognize Roebuck from his role of “Samson,” the teenage killer in River’s Edge, or from his stint as “Dr. Arzt” from TV’s LOST,” or from his literally dozens of other roles on episodic TV show and feature films, including lots of horror films.

Tyler Bryan plays Kurt Cobain, and Sarah Scott is the chainsmoking Courtney Love, who can be seen wearing a babydoll nightie and knee-high stockings, rolling around on her bed while answering Grant’s questions.

Grant’s visible unease around Love — who married Kurt Cobain in 1992 — is palpable.

The June 2015 release of Soaked in Bleach was apparently timed to counter a competing documentary, Brett Morgen‘s Kurt Cobain: Montage of Heck, a film — released theatrically at the beginning of the same year — that many considered to be crass and exploitative.

Statler’s docudrama was considered so controversial, though, that Courtney Love’s legal team tried to stop the film’s release by issuing a cease-and-desist warning letters to movie theaters all over the country who were advertising their forthcoming screenings of Soaked In Bleach, under the pretense that his film was “defamatory.”

One of the more chilling and memorable moments in the docu-drama itself comes during an interview with Stamper, who says:

“We should have, in fact, taken steps to study patterns involved in the behavior of key individuals who had a motive to see Kurt Cobain dead. If, in fact, Kurt Cobain was murdered, as opposed to having committed suicide, and it was possible to learn that, shame on us for not doing that. That was, in fact, our responsibility. It’s about right and wrong. It’s about honor. It’s about ethics. If we didn’t get it right the first time, we damn better get it right the second time, and I would tell you now, if I were the Chief of Police, I would re-open this investigation.”

The film’s title comes from lyrics to Nirvana’s “Come As You Are,” a track from their Nevermind album, released as a single:

That line “Come dowsed in mud, soaked in bleach” was reportedly taken from a campaign in Seattle that encouraged heroin users to soak their needles in bleach after injecting to reduce the risk of spreading HIV (the actual phrase used was “If dowsed in mud, soak in bleach”).

“Soaked in bleach” — in the context of criminal acts — also refers to the destruction of DNA evidence by using bleach.

Watch the full film here.

Saturday Matinee: Kim Dotcom – Caught in the Web

The larger-than-life story of Kim Dotcom, the “most wanted man online”, is extraordinary enough, but the battle between Dotcom and the US Government and entertainment industry, being fought in New Zealand, is one that goes to the heart of ownership, privacy and piracy in the digital age. Three years in the making, this independent film chronicles a spectacular moment in global online history, dubbed the ‘largest copyright case’ ever and the truth about what happened.

Watch the full film here.

Saturday Matinee: 97% Owned

From TopDocumentaryFilms.com

97% owned present serious research and verifiable evidence on our economic and financial system. This is the first documentary to tackle this issue from a UK-perspective and explains the inner workings of Central Banks and the Money creation process.

When money drives almost all activity on the planet, it’s essential that we understand it. Yet simple questions often get overlooked, questions like; where does money come from? Who creates it? Who decides how it gets used? And what does this mean for the millions of ordinary people who suffer when the monetary, and financial system, breaks down?

Political philosopher John Gray, commented, “We’re not moving to a world in which crises will never happen or will happen less and less. We are in a world in which they happen several times during a given human lifetime and I think that will continue to be the case.”

If you have decided that crisis as a result of the monetary system is not an event you want to keep revisiting in your life-time then this documentary will equip you with the knowledge you need, what you do with it is up to you.

Saturday Matinee: Shadows of Liberty

Synopsis from ShadowsofLiberty.org:

Shadows Of Liberty reveals the extraordinary money and power behind the news media dictating censorship, cover‐ups and corporate control.

Filmmaker Jean‐Philippe Tremblay takes an intrepid journey through the dark corridors of the American media landscape where global conglomerates call the shots. For decades their overwhelming influence has distorted journalism and compromised its values.

In highly revealing stories, renowned journalists, activists and academics give insider accounts of a broken media system. Controversial news reports are suppressed, people are censored for speaking out, and lives are shattered as the arena for public expression is turned into a private profit zone.

Tracing the story of media manipulation through the years, Shadows Of Liberty poses a crucial question: why have we let a handful of powerful private corporations write the news? We’re left in no doubt, ‘…what will save us is when we really know what’s going on, media not filtered through the lens or the microphone of a corporation.’

Saturday Matinee: HyperNormalisation

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Saturday Matinee: Technocalypse

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“Technocalyps” (2006) is a documentary by Frank Theys examining the transhumanist movement and development of the sciences of interest to them including genetics, robotics, nanotechnology, and artificial intelligence. Features interviews with philosophers, writers and researchers including Raymond Kurzweil, Kirkpatrick Sale, Natasha Vita More, Robert Anton Wilson and Terence McKenna among others.

Saturday Matinee: Human

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Synopsis from Open Culture:

What is it that makes us human? And how best to ensure that we all get our fair say?

For director, photographer, and environmental activist Yann Arthus-Bertrand, the answers lay in framing all of his interview subjects using the same single image layout. The formal simplicity and unwavering gaze of his new documentary, Human, encourage viewers to perceive his 2,020 subjects as equals in the storytelling realm.

There’s a deep diversity of experiences on display here, arranged for maximum resonance.

The quietly content first wife of a polygamist marriage is followed by a polyamorous fellow, whose unconventional lifestyle is a source of both torment and joy.

There’s a death row inmate. A lady so confident she appears with her hair in curlers.

Where on earth did he find them?

His subjects hail from 60 countries. Arthus-Bertrand obviously went out of his way to be inclusive, resulting in a wide spectrum of gender and sexual orientations, and subjects with disabilities, one a Hiroshima survivor.

Tears, laughter, conflicting emotions… students of theater and psychiatry would do well to bookmark this page. There’s a lot one can glean from observing these subjects’ unguarded faces.

The project was inspired by an impromptu chat with a Malian farmer. The director was impressed by the frankness with which this stranger spoke of his life and dreams:

I dreamed of a film in which the power of words would resonate with the beauty of the world. Putting the ills of humanity at the heart of my work—poverty, war, immigration, homophobia—I made certain choices. Committed, political choices. But the men talked to me about everything: their difficulty in growing as well as their love and happiness. This richness of the human word lies at the heart of Human. 

In Volume I, above, the interviewees consider love, women, work, and poverty. Volume II deals with war, forgiveness, homosexuality, family, and the afterlife. Happiness, education, disability, immigration, corruption, and the meaning of life are the concerns of the third volume .

The interview segments are broken up by aerial sequences, reminiscent of the images in Arthus-Bertrand’s book, The Earth from Above. It’s a good reminder of how small we all are in the grand scheme of things.

Appropriately, given the subject matter, and the director’s longtime interest in environmental issues, the filming and promotion were accomplished in the most sustainable way, with the support of the GoodPlanet Foundation and the United Carbon Action program. It would be lovely for all humanity if this is a feature of filmmaking going forward.

The Google Cultural Institute has a collection of related material, from the making of the soundtrack to behind-the-scenes reminiscences of the interview team.