My review was written in October 1989 after a New York Film Festival screening.
"Near Death" is a tedious, repetitious documentary made at a Boston hospital critical care unit that sheds little light on the issues affecting terminally ill patients, their families and healthcare workers.
Frederick Wiseman, whose 1970 docu "Hospital" was an insightful, wider-ranging work in the same genre, has fallen in love with his footage this time. The nearly 6-hour opus debuted at the New York Film Festival will hold some interest via public tv for devotees of Wiseman's cinema verite approach.
Four case studies form the core of pic's content, plus endless, repetitive discussions by doctors and nurses about these cases and the ethical issues involved, mainly when to "pull the plug" on these terminal patients. Because of the medical jargon and unfortunately inarticulate physicians focused on at Beth Israel Hospital in Boston, pic is boring and unable to educate the viewer the way a researched docu with experts' interviews might do.
Instead, Wiseman with his no narration, no music, no facts/titles approach bears down in almost real-time sequences with the hope that lightning will strike and something moving or novel will be recorded. Only in the final segment, nearly two hours devoted to the hopeless case of Charlie Sperazza, does anything of that sort happen, as Sperazza's wife is very real and very empathetic. Sperazza makes an unexpected comeback and it is genuinely inspiring when he wiggles his toes after being all but given up on.
Pi'cs logical finish is the scene of Charlie being successfully taken out of intensive care, but Wiseman chooses to then end the film with footage of a corpse being removed from the hospital morgue to a waiting hearse, before bookending pic with a shot of the Charles River. Sperazza's doctor, with a boring monotone and endlessly reiterated (almost verbatim) cliches, unfortunately resembles most of the doctors and nurses shown before.
Main protagonist is a Dr. Weiss who seemingly presides over the unit and disconcertingly talks about heavy issues more like a basketball coach than philosopher. He confesses to being a nihilist, comparing the health care for terminal cases to the Greek myth of Sisyphus, i.e., endlessly rolling a rock up a hill only to have it roll back again. Near the end of the pic he recites virtually the only fact or datum imparted during its duration: that an average two-thirds of a person's lifetime healthcare costs are incurred in the final 212 days of one's life.
Most of the film's thrust deals with the issue of the team decision of physicians/nurses/patient/family as to what measures should be taken to prolong life during the end game of this medical chess match with Death. Once the parameters of this painful process are laid on the table, Wiseman unwisely pours over the topic dozens of times more, presumably for the benefit of slow-witted viewers.
The other key deficiency of his approach is that while patients (mostly unconscious, however) and families pour their hearts out, the health-care workers are obviously (and inevitably) aware of the camera's presence and therefore are on their best behavior. Intramural criticism is kept to a minimum and all concerned are portrayed as saintly, if hardly all that brainy, technicians.
A hard-nosed film editor could usefully cut this pic down to feature length by retaining only one or two of the case studies, while further removal of repetitious discussions during individual segments could reduce it to a tight, half-hour rtv special.
As it stands, "Near Death" is surprisingly bland. Even exploitational elements such as an autopsy review segment (with organs displayed on camera) and two scenes of corpses being removed come off as remote and clinical. End credits reveal that all but one patient died soon after the events depicted.
"Near Death" is a tedious, repetitious documentary made at a Boston hospital critical care unit that sheds little light on the issues affecting terminally ill patients, their families and healthcare workers.
Frederick Wiseman, whose 1970 docu "Hospital" was an insightful, wider-ranging work in the same genre, has fallen in love with his footage this time. The nearly 6-hour opus debuted at the New York Film Festival will hold some interest via public tv for devotees of Wiseman's cinema verite approach.
Four case studies form the core of pic's content, plus endless, repetitive discussions by doctors and nurses about these cases and the ethical issues involved, mainly when to "pull the plug" on these terminal patients. Because of the medical jargon and unfortunately inarticulate physicians focused on at Beth Israel Hospital in Boston, pic is boring and unable to educate the viewer the way a researched docu with experts' interviews might do.
Instead, Wiseman with his no narration, no music, no facts/titles approach bears down in almost real-time sequences with the hope that lightning will strike and something moving or novel will be recorded. Only in the final segment, nearly two hours devoted to the hopeless case of Charlie Sperazza, does anything of that sort happen, as Sperazza's wife is very real and very empathetic. Sperazza makes an unexpected comeback and it is genuinely inspiring when he wiggles his toes after being all but given up on.
Pi'cs logical finish is the scene of Charlie being successfully taken out of intensive care, but Wiseman chooses to then end the film with footage of a corpse being removed from the hospital morgue to a waiting hearse, before bookending pic with a shot of the Charles River. Sperazza's doctor, with a boring monotone and endlessly reiterated (almost verbatim) cliches, unfortunately resembles most of the doctors and nurses shown before.
Main protagonist is a Dr. Weiss who seemingly presides over the unit and disconcertingly talks about heavy issues more like a basketball coach than philosopher. He confesses to being a nihilist, comparing the health care for terminal cases to the Greek myth of Sisyphus, i.e., endlessly rolling a rock up a hill only to have it roll back again. Near the end of the pic he recites virtually the only fact or datum imparted during its duration: that an average two-thirds of a person's lifetime healthcare costs are incurred in the final 212 days of one's life.
Most of the film's thrust deals with the issue of the team decision of physicians/nurses/patient/family as to what measures should be taken to prolong life during the end game of this medical chess match with Death. Once the parameters of this painful process are laid on the table, Wiseman unwisely pours over the topic dozens of times more, presumably for the benefit of slow-witted viewers.
The other key deficiency of his approach is that while patients (mostly unconscious, however) and families pour their hearts out, the health-care workers are obviously (and inevitably) aware of the camera's presence and therefore are on their best behavior. Intramural criticism is kept to a minimum and all concerned are portrayed as saintly, if hardly all that brainy, technicians.
A hard-nosed film editor could usefully cut this pic down to feature length by retaining only one or two of the case studies, while further removal of repetitious discussions during individual segments could reduce it to a tight, half-hour rtv special.
As it stands, "Near Death" is surprisingly bland. Even exploitational elements such as an autopsy review segment (with organs displayed on camera) and two scenes of corpses being removed come off as remote and clinical. End credits reveal that all but one patient died soon after the events depicted.