I suppose that some ventriloquists and their devoted fans will find fault with this film. (Why does a ventriloquist not want to be a vent any more?; it's like a Hatfield not only being ashamed of being a hillbilly but making a documentary about it; the next family reunion down in the holler is gonna be mighty uncomfortable.) Anyway, the premise of this possibly staged(?) documentary is that Nina Conti is ambivalent about her profession (she is also an actress whose resume includes a few movies and TV series) and about to quit when she learns that her mentor, Ken Campbell, has died. (Everyone but me seems to take seriously the implication that they were lovers, although I take it as distinctly possible that their sexual attraction was never consummated; Freudians will note that Campbell was almost exactly the same age as Nina Conti's father, actor Tom Conti.)
I for one do not think that Conti's ventriloquism act stinks, which only added to my puzzlement as to why she would even consider giving it up. (Maybe, as her performance at the Vent Convention suggests, she wants to transcend the traditional limits of what ventriloquism is supposed to be, and that seems a promising direction, judging from her act.)
I particularly enjoy Conti's sense of humor, which I found completely disarming. Two examples: Introduced to a half dozen or so figures bequeathed to her by her mentor, Conti gives each of them new names, even though their former owner already named them, and when she simply names the owl figure "Owl," the figure says, "You put a lot of thought into these names, didn't you." Of course that isn't the "figure" speaking, that is the ventriloquist's self-deprecating humor. Later, her performance at a ventriloquism convention begins with her telling her figure, Monkey (she does put a lot of thought into the name thing, doesn't she), that they are standing before a room full of ventriloquists. "No pressure then," says Monkey.
One of the things that this film goes into--including in archive footage of Campbell talking about it--is the psychology of ventriloquism. There is also a nice demonstration by Nacho Estrada who deconstructs ventriloquism by removing the traditional figure and bringing in other objects. (I think this is kind of related to where Conti is trying to go with her act.)
Most eye-opening for a newcomer to the sociology of ventriloquism is the convention Conti attends. At a rather sterile hotel (Conti finds it depressing), in or near Ft. Mitchell, Kentucky (I'm not sure which, in or near), seemingly hundreds of ventriloquists gather annually and transform the place into a colorful and vibrant community. There is a ventriloquism museum nearby called Vent Haven, where the figures used by past ventriloquists have come to rest. There you will find Mortimer Snerd and Charlie McCarthy, the famous figures of the famous ventriloquist Edgar Bergen, father of actress Candace Bergen.
I don't know if this rates as a spoiler so I am counting it as one, but I thought it somewhat odd--in view of the fact that the Vent Haven Museum figures are all labeled "Do Not Touch"--that Conti got one of Campbell's figures soaking wet in the hotel swimming pool, then rung it out, then decided that was the one she was going to donate to the museum; can you say doll abuse? She doesn't seem to have done these things with the intention of possibly donating a damaged figure; she was originally going to donate a bulldog figure and penultimately decided not to donate any figure. Finally she changed her mind--or rather, the figure she donated changed her mind.
OK, that IS a spoiler.
The figure she turned in was a good choice for donation; you realize that when you see the tag placed on the figure by the museum, describing its history.
I for one do not think that Conti's ventriloquism act stinks, which only added to my puzzlement as to why she would even consider giving it up. (Maybe, as her performance at the Vent Convention suggests, she wants to transcend the traditional limits of what ventriloquism is supposed to be, and that seems a promising direction, judging from her act.)
I particularly enjoy Conti's sense of humor, which I found completely disarming. Two examples: Introduced to a half dozen or so figures bequeathed to her by her mentor, Conti gives each of them new names, even though their former owner already named them, and when she simply names the owl figure "Owl," the figure says, "You put a lot of thought into these names, didn't you." Of course that isn't the "figure" speaking, that is the ventriloquist's self-deprecating humor. Later, her performance at a ventriloquism convention begins with her telling her figure, Monkey (she does put a lot of thought into the name thing, doesn't she), that they are standing before a room full of ventriloquists. "No pressure then," says Monkey.
One of the things that this film goes into--including in archive footage of Campbell talking about it--is the psychology of ventriloquism. There is also a nice demonstration by Nacho Estrada who deconstructs ventriloquism by removing the traditional figure and bringing in other objects. (I think this is kind of related to where Conti is trying to go with her act.)
Most eye-opening for a newcomer to the sociology of ventriloquism is the convention Conti attends. At a rather sterile hotel (Conti finds it depressing), in or near Ft. Mitchell, Kentucky (I'm not sure which, in or near), seemingly hundreds of ventriloquists gather annually and transform the place into a colorful and vibrant community. There is a ventriloquism museum nearby called Vent Haven, where the figures used by past ventriloquists have come to rest. There you will find Mortimer Snerd and Charlie McCarthy, the famous figures of the famous ventriloquist Edgar Bergen, father of actress Candace Bergen.
I don't know if this rates as a spoiler so I am counting it as one, but I thought it somewhat odd--in view of the fact that the Vent Haven Museum figures are all labeled "Do Not Touch"--that Conti got one of Campbell's figures soaking wet in the hotel swimming pool, then rung it out, then decided that was the one she was going to donate to the museum; can you say doll abuse? She doesn't seem to have done these things with the intention of possibly donating a damaged figure; she was originally going to donate a bulldog figure and penultimately decided not to donate any figure. Finally she changed her mind--or rather, the figure she donated changed her mind.
OK, that IS a spoiler.
The figure she turned in was a good choice for donation; you realize that when you see the tag placed on the figure by the museum, describing its history.
