I first learned that “Roadrunner,” Morgan Neville’s documentary about the life and death of Anthony Bourdain, contains three sentences spoken by Bourdain that he never actually spoke ou…
, contains three sentences spoken by Bourdain that he never actually spoke out loud in the same way that you learn about a lot of things these days: by seeing an eruption of outrage about it on Twitter.
Neville, in the New Yorker article, defended his choice as a novel way to make Bourdain’s words come alive, adding, “We can have a documentary-ethics panel about it later.” Maybe we should have one. But maybe a reason that Neville, in that quote, adopted what will strike some as a cavalier attitude is that no one understands more than documentary filmmakers what an impure form the documentary can be.
The staged scenes in “The Thin Blue Line” didn’t bother me at the time, and they don’t now. That movie really is a one-of-a-kind landmark. What did bother me is when I began to notice how routinely documentaries were folding in staged reenactments. It first struck me around the time of “Man on Wire” , James Marsh’s otherwise enthralling film about Philippe Petit’s staggering, don’t-look-down walk on a high wire strung between the two towers of the World Trade Center in 1974.
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