As a gamer who has spent countless hours immersed in the world of graphic novels and comics, I can confidently say that Art Spiegelman: Disaster Is My Muse is a documentary that leaves me feeling a bit like one of those old-school arcade games – promising at first glance, but ultimately falling short of delivering the excitement and depth I was hoping for.
In the recently released documentary by Molly Bernstein and Philip Dolin titled “Art Spiegelman: Disaster Is My Muse“, Robert Crumb is the guest at the table.
In a key moment in the movie, Crumb, along with his late spouse Aline Kominsky-Crumb, gather with longtime companions Art Spiegelman and Françoise Mouly for an evening meal. During this gathering, they reminisce about their influential roles in the ’70s and ’80s underground comic scene. For the sake of this scene, Crumb appears as a laid-back, contemplative senior citizen, simply enjoying a casual dinner with his ordinary, albeit culturally impactful, friends.
In the gaming world, it’s like playing a character who seems ordinary in this level, but holds an extraordinary significance in the grand scheme of the game universe. While Terry Zwigoff’s “Crumb” has cast a towering shadow over any non-fiction film about artists or biographical documentaries, it was a uniquely captivating blend of filmmaker and subject. Yet, in “Disaster Is My Muse,” Robert Crumb feels surprisingly ordinary – oddly fitting.
The documentary titled “Art Spiegelman: Disaster Is My Muse,” set to debut at DOC NYC before airing on PBS under the American Masters label, tends to be affably uneventful or, at least, lackluster in its presentation. This film sketches a man whose most significant artistic accomplishment was an autobiographical graphic novel, “Maus,” which he spent decades creating and subsequently discussing in various media outlets. Following this achievement, he released another book elucidating it (“MetaMaus”). Regrettably, due to real-world events, he has been compelled to continue discussing his achievement because it remains remarkably relevant.
Art Spiegelman is an exceptional artist, famed for works like “Maus” and many others. Yet, beyond his art, he’s also a figure who has spent several decades discussing himself and “Maus.” This trait is evident in this documentary, where he openly discusses his life. He isn’t hostile, as the documentary celebrates his life, but if you’re unfamiliar with Art Spiegelman, he’s definitely worth learning about. However, it’s important to note that for decades, he has been discussing the choice to portray Jews as mice in a comic about the Holocaust, and his openness about this topic is something that cannot be overlooked.
The central theme of “Disaster Is My Muse” lies in exploring how tragic events have ignited Spiegelman’s artistic inspiration. His parents survived the Holocaust, his younger brother passed away before he was born, and his mother took her own life while he was in college. Besides two volumes and a companion book for “Maus,” he also wrote “In the Shadow of No Towers,” which deals with the September 11 terrorist attacks. It’s essential to note that Spiegelman isn’t a gloomy individual; his inspirations stem from the humor found in sources like Mad magazine, and one of his notable collaborative creations was none other than Garbage Pail Kids.
In the movie “Disaster Is My Muse,” while Spiegelman’s creation of “Maus” is mentioned, it isn’t heavily focused on. Although discussing his relationship with his parents and the making of “Maus” is crucial for Spiegelman, the documentary shines more when it seems he’s tackling themes that are less predictable or less emotionally draining through constant repetition.
He and Mouly are great discussing their relationship and the different publishing endeavors they’ve collaborated on, from independent comics to their work through The New Yorker. The introduction of daughter Nadja, who helped inspire his 9/11 book, helps push Spiegelman’s stories into a fresher context.
Discussing Maus rarely offers fresh perspectives due to its extensive analysis. Scholar Hillary Chute meticulously examines crucial scenes in the comic, but when she mentions that her MetaMaus contributions were derived from two years of interviews with Spiegelman, it essentially means “I’m not providing anything new or previously unknown.” While everything is intriguing, it feels a bit rigid and over-analyzed.
Despite discussions centered around the present, “Disaster Is My Muse” seems slightly out of sync. The election and presidency of Donald Trump revived conversations about “Maus” in relation to anti-fascism, while right-wing attempts to ban books in the early 20s repositioned Spiegelman as a champion against censorship. Given the topicality of these issues today, one might expect recent interviews, but they appear to have been conducted over a year or two ago. While it’s understandable that filmmakers can’t wait for subjects to lose relevance due to new reasons, there seems to be a gap between this film and the current news cycle.
The documentary’s timeline is evident through the appearances of Aline Kominsky-Crumb, who passed away in 2022, and Neil Gaiman, one of its speakers. Notably, the inclusion of Gaiman discussing panels from the early version of Maus, initially published as a three-page comic in a magazine called Funny Animals, was likely considered a significant acquisition at the time. However, with the author currently absent from public view following allegations of sexual misconduct, it now serves as an unnecessary diversion.
In the company of artists such as Crumb, Bill Griffith, film critic J. Hoberman, among others, Disaster Is My Muse is not short on individuals who can eloquently discuss Spiegelman’s significance and his role in validating his chosen medium. However, a closing sequence featuring contemporary comic/graphic novelists signing books for Spiegelman could have been presented with more impact and immediacy.
The documentary is generally captivating, but shining a light on Spiegelman remains valuable. However, “Disaster Is My Muse” pales in comparison to “Crumb,” as well as “Maus.” It seems somewhat outdated in several unfortunate aspects.
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2024-11-16 23:55