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Roadrunner: A Film About Anthony Bourdain

It’s weird to talk about “the mystery” of Anthony Bourdain. The truth is, the chef-turned-author-turned-travel show star was one of the most visible and open people on the planet. At one point in Roadrunner: A Film About Anthony Bourdain, director Morgan Neville uses clips from a 2016 episode of the CNN travelogue show Parts Unknown in which Bourdain talks to a therapist while visiting Argentina. “I should be happy,” he says. “I have incredible luck.” 

Do you ever feel happy, the therapist asks? “No,” replies Bourdain. 

It’s true, Bourdain did have good luck. His 2000 book Kitchen Confidential defined the seedy glamour of restaurant work for a generation—more importantly, it was an inspiration to millions of talented, smart people stuck in dead end jobs. He successfully parlayed his second book, A Cook’s Tour, into a third career as a travel writer and TV host. When he died of suicide in 2018 while on a shoot in France, his friends and fans were devastated. How could a former cocaine and heroin addict who had survived 25 years in an industrial kitchen to become the voice and conscience of Americans abroad decide to check out so suddenly? 

When someone kills themselves, those of us left behind want answers. As his friend, graffiti artist David Choe says late in the film, “Tony let me down.” 

But the truth about suicide is much more mundane. Cases like Cleopatra, who killed herself because she lost the Battle of Alexandria and was about to be deposed from her throne by the Romans, are exceedingly rare. The answer to “Why did they do it?” almost never has a clear cut answer beyond lifelong mental illness. One day, things just caught up with them. 

Neville, to his credit, understands that the big risk in making this film is to focus too much on the end. This is a biography, like Won’t You Be My Neighbor?, his 2018 film on Fred Rogers. It benefits greatly from the hundreds of hours of video shot by the crews following him on his trips around the world, thanks to longtime producer and creative partner Lydia Tenaglia. Bourdain’s career arc is measured visually by the progression from blurry millennial digital video to sharp 4K. His own words, of which there are volumes, explain his growth from a rather insular New Yorker to a world traveler. “I don’t trust anything that happens out there,” he says early in the picture, gesturing to the world outside the kitchen.

But an incident in 2006, when he and his crew were trapped in a Beirut hotel while a war between Israel and Hezbollah destroyed the vibrant city around him, fundamentally changed his perspective. Later, when a Laotian man who lost limbs in an American bombing attack during the Vietnam War asks him why he used what was ostensibly a cooking show to highlight the abuses of American imperialism, he replies, “It’s the least I can do.” 

That’s the Bourdain that his audience trusted and loved: Empathetic, honest, and open about the lucky breaks he received. Yes, he was a talented writer with a magnetic persona, but he was also in the right place at the right time, and he never forgot it. Neville and editor Eileen Meyer balance potential hero worship by interviewing people who worked with him, and knew how difficult he could be to get along with in real life. Thanks to Neville’s decision not to interview actress Asia Argento, the girlfriend whose public breakup happened days before his suicide, Bourdain superfans might not find much new to learn in Roadrunner. But it was the right choice. This movie is not about “who killed Anthony Bourdain?” It is “who was Anthony Bourdain?” As the title, taken from a Jonathan Richman song, implies, he was a guy who ran all his life, until he couldn’t any more. 

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Crip Camp: A Disability Revolution

Stories of sweeping social change are always compelling, but I have a soft spot for documentaries which explore the lives of the people behind the movement. That’s something Crip Camp: A Disability Revolution excels at.

The film is co-directed by documentary producer Nicole Newnham and James LeBrecht, a veteran sound designer in his first directorial role. LeBrecht has spina bifida, and as a child in the 1960s, he had his life permanently changed when he went to Camp Jened. For many of its participants, the summer program for disabled people was the first time they had been around other kids with similar issues. It was the first time they felt normal.

The first half of Crip Camp looks back on Camp Jened, thanks to extensive interviews with the now-grown-up campers and a wealth of open-reel videotape footage from an aborted TV documentary project that miraculously survived the years. The campers stories are inspiring and occasionally hilarious. Kids in wheelchairs got to play baseball for the first time. The sexual awakening among the teenage campers leads to an outbreak of crabs in the barracks. Except for the fact that most of them are in wheelchairs, the kids come off just as genuine, idealistic, and stoned as the average teenager in the Summer of Love.

But the most interesting footage from the camp is a gathering around a dinner table where the campers talk politics. Inspired by the Civil Rights Movement, some of the campers and their counselors made it their mission to bring the utopia of Camp Jened to the wider world. Judith Heumann emerged as the leader of the movement to win disabled people the rights to access and equality. In the second hour of Crip Camp, Heumann and the core of activists from the camp take on the state of California and the federal government in an escalating series of protests that leads to a month-long occupation of an office building. Here, the doc gets more conventional in structure, but the insights gained from the camp sequences make the fight more poignant. While inside the besieged building, the activists recreate the camp’s dinner table discussions to keep their movement intact and on track.

Judith Huemann (center)

Crip Camp won the Audience Award at this year’s Sundance Film Festival, and it’s not hard to see why. It’s an exquisitely crafted documentary with humor and pathos that will forever change the way you look at sidewalk wheelchair ramps.

Netflix bought the film and released it after its limited theatrical run was canceled by COVID-19. This Thursday, May 7th, Indie Memphis is hosting a virtual Shoot & Splice on the subject of editing. One of the guests will be Eileen Meyer, the editor of Crip Camp who is a former Memphian. She will be discussing the art of the cut with the editor of The Farewell, Michael Taylor, and moderator Laura Jean Hocking. You can find out how to tune in and join the discussion on the Indie Memphis website.