But the controversy over Carter's book began with just its title, and it may have stirred more controversy than even the soft-spoken man from plains had anticipated. Demme almost makes a running gag of the fact that the first question Carter is inevitably asked is why such a provocative title? Fresh Air's Terry Gross suggests a tamer title, but Carter insists that he did want it to be provocative. But the problem is that some people seem unable to get past the title to read the book and allow Carter to make his case. &
Jimmy Carter with filmmaker Jonathan Demme (Sony Pictures Classics)
Demme deals with the controversy in much the same way that his subject does -- he attempts to diffuse it, find middle ground and avoid noisy confrontations. So Demme allows journalists, talk show hosts and others raise questions and criticisms about Carter's book, but then he rarely lets Carter deliver a direct rebuttal. Its an interesting approach that somehow manages to diffuse the criticisms by letting Carter get to them in his own time and not within a tit-for-tat dynamic. But by the end of the film, Carter has addressed most of the issues and revealed considerable knowledge. Some may still disagree with his conclusion, but you can't say that the former president hasn't devoted careful thought to the issues. The film also affords Carter a chance to talk about the current state of affairs in the Middle East within the context of the work Carter did while president. Carter and former first lady Rosalyn Carter are allowed to recall those negotiations at Camp David, and we see that this soft-spoken man also must have had some savvy negotiating skills. Carter's comments in the film about current foreign policy reveal a contrast in attitudes between the Bush administration and Carter's.
One of the interesting things that Demme does as a filmmaker is that he cuts a montage of the violence going on in both Palestine and Israel, showing the losses on both sides and the building of the wall around Palestinian territory. Its a very brief introduction to some of the issues in the region, and Demme lets the images play out with no commentary so that you can draw your own conclusions. One criticism I have about Demme's approach to filming Carter is that the filmmaker employs a jerky hand-held camera that's annoying and doesn't fit the tone of his portrait of the former president.
Carter signing books (Sony Pictures Classics)
The film does allows Carter a chance to speak passionately about Palestine as well as about other issues that concern him, such as religion, current foreign policy and his Habitat for Humanity. At 82 years old, Carter is still amazingly active with projects such as the Habitat for Humanity and his Carter Center. Demme crafts a film style that reflects Carter himself low key, unassuming, leisurely. It allows Carter to reveal both folksy charm and sharp intelligence. There are no punchy 30-second sound bites here, no bravado for the camera. In fact Carter never seems to be performing for the camera or trying to find that perfect "photo opp" like so many media savvy politician are prone to do today. Instead, Demme catches the ex-president in casual conversation and quiet, contemplative moments. There are even shots of him carrying his own luggage, something that became a joke during his presidency. There's even a reference to this in Robert Altman's political satire Tanner '88 .
Demme allows for some very intimate moments that provide insight into Carter. At one point, Carter visits the grave of an African American woman named Rachel who helped raise him. Carter notes that his mother, a nurse, could be gone for up to 20 hours a day, so he was often left with Rachel. Carter recalls picking cotton and peanuts with her and fondly recalls that she taught him how to fish. Scenes such as this reveal Carter as a very sincere, honest and thoughtful man.
Jimmy Carter Man From Plains (rated PG for some thematic elements and brief disturbing images) is similar to Demme's concert film of Neil Young, Heart of Gold . Although dealing with different men, both films present portraits of people who seem content with who they are and at a place where they are comfortable. That is not to say that they are kicking back and relaxing, both men remain very active. Yet there is a certain serenity to both. But both films also suffer from the fact that their subjects are rather low-key individuals who don't energize the screen with flamboyant personalities -- something Jean Dominique did so well in The Agronomist. However, Jimmy Carter Man From Plains offers a measured, thoughtful and ultimately admiring portrait of our former president.
Companion viewing: The Agronomist, Tanner '88, The Candidate
