Filmmaker Frederick Wiseman practiced law before pursuing a career as director and editor of films produced in the cinema verite style.  Some people proclaim Wiseman exemplifies the tradition better than any other American cinematographer.  His catalog of documentary films includes more than thirty films produced as ethnographic-styled examinations of American social structures beginning in the late 1960’s.  Wiseman’s motivation for making films has been interpreted in vastly different ways because his films portray subjects in a purposefully ambiguous fashion.  He’s said social change interests him, although he professes uncertainty regarding film’s capacity to effect such change (McWilliams, 19).  Simple documentation may also be a reason Frederick Wiseman examines what he calls “normal behavior” through the lens of direct cinema (a film technique utilizing no actors and no script.)

            Wiseman began making films in 1967 and by 1980 had already produced fourteen documentaries that have been called “a comprehensive analysis of American society” (Armstrong, 2).  Unique aspects of all Frederick Wiseman films include “no voiceover, no direct-to-camera interviews, no music [out of context] and no captions to orient the viewer within the film” (Bamber).  He boasts of using no staged events in his films as well as generally shooting only in natural light (Wiseman, 41).

            Wiseman begins film projects with a theory to determine the kind of material he expects to find (McWilliams, 22).  He claims not to allow his prejudices to commit him to a particular final project even though he admits his films are subjective.  He generally shoots one hundred hours of film with a 16 mm camera while capturing ambient sound with a handheld tape recorder and microphone.  He then edits the film, in non-chronological order, down to as much as three-hours of film.  Wiseman’s subjectivity finds expression in this four to six month editing process (McWilliams, 23). 

            Wiseman’s first five documentaries were Titicut Follies (1967,) High School (1968,) Law and Order (1969,) Hospital (1969) and Basic Training (1970.)  Although these first five films received many positive reviews, not all reactions to Wiseman’s work have been positive.  His first film, Titicut Follies, obtained the distinction of being “the only time in American constitutional history that the decision in a non-obscenity case has been a restriction of free speech first amendment rights, so that one group may see the film but not another” (McWilliams, 21).  Controversy raised by Titicut Follies reached national attention through a legislative investigation that sought not to discover how conditions could be improved at Bridgewater Correctional Institute for the Criminally Insane, but rather, the investigation sought to understand why Wiseman was allowed to shoot the footage at all.  Wiseman’s direct-to-camera technique in Bridgewater, Massachusetts produced a final film that one judge referred to as “a nightmare of ghoulish obscenities” (McWilliams, 21).  Public outrage over the film led the ACLU to decline Wiseman legal representation.  In 1967, the film was banned—until 1991—from being shown publicly in the United States.

            Amid this controversy, Wiseman continued making films.  Upon the release of his second film, High School, Wiseman encountered more resistance in Philadelphia (the location of the high school presented in the film.)  It seemed for awhile as if his second film might suffer the same fate as his first.  The litigious reactions to Wiseman’s films, however, conceal the initial responses he received from his films’ subjects.  The staff at Bridgewater Correctional Institute allegedly responded positively at a private screening before the release of Titicut Follies.  Negative reactions from the film’s subjects only surfaced after outsiders began to view and interpret the film.  High School elicited a similar response.  His third film, Hospital, did not raise a furor though.  In fact, the nurses and doctors who served as subjects for Hospital reportedly began using the film internally for training purposes (McWilliams, 21).  Wiseman’s fourth film, Law and Order, documented the lives of police officers and citizens with whom they came into contact.  This film was quietly received and seemed to only raise concerns regarding one scene showing a police officer choking a woman (McWilliams, 21.)

        Burdened with notoriety as a filmmaker who makes shocking films, Frederick Wiseman moved onto his fifth film project Basic Training .  It seems likely Wiseman’s reputation must’ve produced concern from the military when they decided to allow him access to making this film.  Although Wiseman said, “[in] hierarchical organizations like the army…participation may result from an actual order or a need to follow the dictates of…the imagined need to comply with the orders of a superior” (Wiseman, 43).  For Wiseman the “most shocking [thing] in Basic Training is the ease with which civilians can be turned into soldiers prepared to kill in the service of the state” (Walker, 55). 

        The Pentagon allowed Wiseman access to shoot the footage he needed to construct Basic Training on the condition they received first screening rights (Walker, 55).  This film testifies to the power of Wiseman’s capacity for capturing ambiguity both through his camera lens and his editing process.  In Basic Training, Wiseman depicts a hierarchical social system driven towards efficiently creating soldiers.  In this capacity, Wiseman portrays the U.S. Army as an incredibly effective, proud organization.  However, he has remarked of the camera’s impact on participants that he believes “the chances are that they are not going to try something strange and uncomfortable” (McWilliams, 25).  As a testament to Wiseman’s philosophy, he also captures several occasions in which the organization behaves unjustly.  Racism and the practice of conscription form the primary examples of injustice documented in this film.  Frederick Wiseman’s cinematic investigation in Basic Training reveals a socially flawed system skillfully producing soldiers for war with remarkably little resistance.

            Filmed at Fort Knox, Kentucky in the summer of 1970, Basic Training examines the first phase of basic combat training by following one group of recruits through the training process.  Not much scholarship exists specifically about the film Basic Training.  Although several contemporary interviews with Frederick Wiseman have been published recently, the films from Wiseman’s canon discussed most frequently are Titicut Follies and High School.  The attention that Basic Training has received is almost as a footnote in scholarship about other films.  For instance, Dan Armstrong observes, in an article about Wiseman’s cinematic technique, that Basic Training reveals “soldiers in boot camp…gradually transformed into proper fighting instruments through a program of classroom and field instruction that parodies the conventional educational process” (Armstrong, 4).  In this context, Armstrong recommends Basic Training be watched and analyzed as the sequel of High School.

            Dan Armstrong has suggested that all of Wiseman’s films “examine contemporary American class struggle…fought over the issues of authority, skill and knowledge” (Armstrong, 3).  McWilliams, however, suggest “there are many levels at which [Wiseman’s] work can be examined” (McWilliams, 23).  The reason for the open nature of meaning in Wiseman’s work is technically due to the non-narrative structure in Wiseman’s movies which create subtle, complex artifacts steeped in ambiguity and presented to the audience for reflection.  This seemingly open door for interpretation allows much in the way of tying in connotations that aren’t necessarily supported by the manifest images displayed in Wiseman’s work.

            Reviewing what little literature there is about Basic Training seems to confuse the most basic function of the U.S. Army basic training program.  Martyn Bamber describes the Army’s intent as assimilating civilians “into army life and turn[ing them] into fighting machines” (Bamber).  Dan Armstrong describes the desired final product as “fighting instruments” (Armstrong, 4).  While others have been led to the question, “Is it possible to feel good about any other soldier being integrated into a system that could easily destroy a person’s spirit?” (Internet Movie Database).  These emotional judgments place interpretive values on the Army’s intent in basic training (i.e. to produce soldiers) that is not strictly supported by evidence in the footage presented.

            During the orientation scene in Basic Training, the Battalion Commander clearly states the intent of basic combat training when he says, “What we are going to try and do is give you the military training which backed up by your native instincts and native intelligence is going to turn you into a soldier” (Basic Training).  The film, if assessed at face value, then subjectively documents the Army’s process of not creating “fighting instruments,” “fighting machines” or “destroy[ing] a person’s spirit;” rather, the film is presenting a step in the Army’s process of creating a soldier.

            Criticism of Basic Training, then, seems well-grounded when assessed against the terms set by the Battalion Commander in this scene.   He sets a standard of measurement when he says to the new recruits, “You’ve now joined an organization that’s proud of itself” (Basic Training).  In this instance, Frederick Wiseman has given us the opportunity to assess whether or not the Army should be proud of its process based on its own declaration.  Recurring sounds and images help to provide a possible glimpse of Wiseman’s conclusion. 

        Film sequences of individuals running or marching as a group occur seventeen times in the one and a half hour film.  The first running/marching sequence presents a mass of disorganized recruits running with laundry bags rather than rifles slung over their shoulders.  This first running/marching scene shows untrained recruits moving in a disorderly fashion as a group.  The last running/marching scene shows these same recruits at their commencement ceremony marching in unison while wearing their dress uniforms.  By following the sequence of intercut running/marching scenes in Basic Training, it seems that Wiseman may have been demonstrating the progression of the Army’s training program as well as subtly making a comment regarding what will ultimately happen with these soldiers when they leave basic training.

            The second through fourth intercut running/marching sequences depict the trainees marching.  The second sequence also includes a recurring sound in the form of the group speaking in unison.  Not only are the recruits being trained to move in synchronization, but also through cadence the trainees also learn to speak as a group in unison.  The first cadence delivered in this second intercut marching/running sequence expresses a lament for entering Army life when they say, “Ain’t no use in looking back.  Second platoon is dragging ass” (Basic Training).  As the intercut running/marching sequences seem to tell a story of how the trainees are taught to move in a soldierly manner, the recurring cadences seem to be placed as indicators of the trainee’s mental state.  The third intercut running/marching sequence depicts the most basic part of these recruits’ synchronization lesson as they march accompanied by the drill sergeant who keeps time with a simple call (i.e. “Your left, your left, your left, right, left.”)  The fourth marching/running sequence occurs when Private Hickman is out of step with the rest of the platoon and he’s scolded by a drill sergeant to get into step.

            The fifth through seventh intercut scenes show: the trainees running with a drill sergeant keeping simple time; the trainees marching with a drill sergeant keeping simple time; and a highly-motivated, but disorganized group of trainees running in T-shirts and pants to hand-to-hand combat training.  The second cadence in the film occurs in the eighth intercut marching/running sequence.  In this scene, the drill sergeant and trainees engage in call and response about women back home (e.g. “Around the block she pushed the baby carriage.”)  The first cadence of the film suggests the recruits are physically fatigued, while this second cadence suggests a sense of acclimation to military life as well as a sort of nostalgia for civilian life. 

            The ninth intercut running/marching sequence presents trainees transitioning from a synchronized run to a synchronized march with the drill sergeant keeping simple time.  The tenth sequence contains the third cadence of the film which matches the tone of the second cadence (e.g. “The prettiest girl I ever saw…”)  Once again, it seems this instance of recurring sound indicates these male trainees are past the point of fatigue and have turned their attention to thinking about life beyond basic training.  Running/marching sequences number eleven and twelve show the trainees marching with a drill sergeant keeping simple time.  The final cadence in the film appears in the thirteenth sequence and seems to express the ultimate misery for these trainees.  Of all the call and response cadences presented in Basic Training, the final cadence sequence shows most clearly the African-American roots of the cadence practice.  The final cadence reveals a woeful moaning punctuated by lamentations such as, “Mr. Nixon drop the bomb.  Cause I don’t want to go to Nam” (Basic Training).

            As in the final cadence, Wiseman uses the final set of marching/running intercuts to make the point that these trainees will be going to Vietnam.  The fourteenth and fifteenth running/marching sequences display silent marches executed during field exercises designed to simulate combat situations.  Sequences sixteen and seventeen occur during the commencement portion of the film.  These final two intercuts depict the trainees executing synchronized marching while in dress uniforms.  The pomp and circumstance of this occasion, as well as the marching band, serve as a final moment of accomplishment for many of these recruits before they go to fight in the Vietnam War.  The linear-quality of these running/marching sequences suggests that Frederick Wiseman portrayed an institution, and maybe in a larger sense a culture, that can be proud of efficiently and effectively training its young men for war (at least in as much as someone would be proud of such an accomplishment.)  In this regard, however, it must be remembered that the declared mission statement of the Army’s basic training program is to produce soldiers for war and these recurring images give a very positive portrayal of trainees becoming incredibly proficient in executing the expectations placed upon them.  With regard to the Battalion Commander’s statement concerning pride, it seems he does have reason to feel proud of efficiently and effectively training soldiers.

            However, two other areas explored by Wiseman in Basic Training do not elicit the same pride.  These areas of exploration concern the Draft and racism.  During the orientation sequence with the Battalion Commander, the Captain says to the trainees that the “nation requires your service” (Basic Training).  That statement sounds proud; however, the very next crosscut scene shows Lieutenant Hoffman presenting a far bleaker assessment of the trainees’ situation.  He says, “I know some people…didn’t want to come in the Army…They’re against war…it’s a little too late for that now.  You’re here” (Basic Training).  The Company Commander’s follow up statement appeals to inevitability rather than pride.  Such statements serve as a stark reminder, to the viewer, that the Draft was in effect while Basic Training was being filmed.  These trainees did not necessarily have a choice in being trained for war and on that account there is little room for feeling proud.

            Wiseman presents other expressions about the Draft early in the film as well.  In a scene depicting a discussion between a drill sergeant and several trainees, a conversation begins with the drill sergeant discussing the morality of killing a man.  By the end of the scene, the discussion devolves into sentiments closely echoing Lieutenant Hoffman’s lament of “It’s a little too late for that now.”  This particular discussion turns from the pride inherent in moral action to exhortations for individualistic self-preservation.  Later in the film, though, another drill sergeant counterbalances the latter scene by honestly expressing his view to trainees on risking his life to save a fellow soldier and expecting the same in return.

            These ambiguous sentiments suggest both points of pride as well as sorrow with regard to the Draft and ultimately the Vietnam War.  In another scene a black trainee remarks, “I don’t want to be here period” (Basic Training).  This scene quietly reasserts the dark cloud that was the Draft.  Once again, it is remarkably clear that this young man did not choose to join the Army.  The black trainee’s comments also highlight racial tensions documented in the film largely in the scenes concerning corrective action (i.e. discipline.) 

        
            In an earlier scene, a black trainee identified as Private Johnson debates with a drill sergeant about the merits of an Article 15 versus a court martial for failure to fill fire guard duty.  Private Johnson declares, in this scene, he is being treated unfairly.  Johnson maintains that he’s being scheduled for fire guard duty more often than other trainees in his platoon.  In this scene he states, “I was done an injustice” (Basic Training).  This trainee then brings racial tension to the forefront by stating to the drill sergeant, “You know this is not my country” (Basic Training).  At another place in the film, a different black trainee debates with Lieutenant Hoffman over the merits of accepting a court martial rather than an Article 15 for missing morning revelry.  The decision to go through a court martial is equivalent to being tried as a criminal while accepting an Article 15 essentially mean being reprimanded and losing a month’s pay.  It doesn’t seem reasonable for a person to consider going through a criminal trial when they might simply sign a piece of paper and lose some money except, it seems, that Frederick Wiseman includes these scenes to point out just how uncomfortable these black trainees feel in the U.S. Army as well as the price they’d pay to get out of an army they never volunteered to join.  Wiseman even seems to suggest in Basic Training that maybe these black trainees express valid concerns. 

Early in the film, trainees are being trained to clean the community bathrooms; however, it’s a black trainee who is told to “stick you head in the urinals” (Basic Training).  Another instance of potential racism occurs early in the film when the photographer at the in-processing station tries to make new recruits smile for photographs.  With a white trainee, the photographer coos, “Say poo poo” (Basic Training).  In the very next scene, the same photographer tells an already smiling black recruit to “say something nice about George Wallace” (Basic Training).  Former Alabama Governor George Wallace was an outspoken racist, so the photographer’s comment implies, at the very least, a certain degree of bad taste.  At worst, the photographer’s comment appears demeaning and racist. 

            Another example of racism occurs in Basic Training during the drill sergeant’s discussion about Karma.  While relating a prior discussion, which presumably took place in front of a white church congregation, the drill sergeant tells of a man expressing the possibility that a white person might be reincarnated as a black person.  The drill sergeant says, “You should’ve seen the people when he said that” (Basic Training).  The implication is that such a comment could only be considered scandalous; however, the reaction among the group of drill sergeant’s listening also indicates there was no need to explain how the congregation felt after such a comment. 

            The scenes of corrective action administered to the black trainees juxtaposed against the scenes with Private Hickman (a young, white man) provide the starkest example of racism documented in Basic Training.  When Hickman can’t make revelry, the First Sergeant helps him get dressed while verbally reprimanding him.  A black trainee was given an Article 15 for essentially the same offense (not making morning revelry.)  In fact, the film only depicts black soldiers receiving formal corrective action; as further substantiated by the case of Private Booker forfeiting a month’s pay for fighting.  When Private Hickman doesn’t perform as required, rather than giving him an Article 15, he is sent to the black Chaplain who primarily puts Private Hickman’s fate back into his own hands by extolling Hickman “to be willing to help” himself.  In this context, the scene between Hickman and the Chaplain takes on a chilling note of irony that plays very subtly in the film.

            Fredrick Wiseman’s Basic Training characteristically dwells in ambiguity and allows for many interpretations to be co-produced.  Based upon points of pride, Wiseman heavily stacks the cards against a justification for the Army to feel too proud of itself.  Apparent cases of racism in the system as well as using the Draft to conscript and chain American boys to the War in Vietnam surely sully the image that the U.S. Army would like to portray.  However, Wiseman also depicts an organization that achieves its main objective quite efficiently and effectively.  In this regard, Frederick Wiseman allows the viewer to see a well-oiled machine in the form of the Army’s basic training program; however, he does not turn his camera’s eye away from the seriously defective components of this system which should provide cause for concern. 

Work Cited

Armstrong, Dan.  “Wiseman’s Model and the Documentary Project: Towards a Radical Film Practice.”  Film Quarterly 37.3 (1983-1984): 2-10.

Bamber, Martyn.  “Basic Training.”  20 April, 2008.

            <www.sensesofcinema.com/contents/cteq/03/250basic_training.html>

Basic Training.  Dir. Frederick Wiseman.  Zipporah Films, 1970.

Internet Movie Database.  20 April, 2008.

            <www.imdb.com/title/tt0066812/>

McWilliams, Donald E.  “Frederick Wiseman.”  Film Quarterly 24.1 (1970): 17-26

Time Out Film Guide.  Time Out New York.  20 April, 2008.

            <www.timeout.com/film/newyork/reviews/67405/Basic_Training.html>

Walker, Jesse.  “Let the Viewer Decide.”  Reason Dec. 2007: 51-56.

Wiseman, Frederick.  “Privacy and Documentary Filmmaking.”  Social Research 68.1 (2001): 41-47.