New breed of docus makes way to multiplex
By Ian Mohr

NEW YORK -- Last summer, birds, nerds, surfers and controversy combined to create a bevy of left-field documentary successes in "Winged Migration," "Spellbound," "Step Into Liquid" and "Capturing the Friedmans." But while the hardened realists who make up the indie film industry were elated to see the unassuming genre -- long deemed uncommercial fare fit for theaters with uncomfortable seats -- inexplicably cross over to the multiplex, the jury was still out on whether the cyclical blip was a trend.

This year has brought Morgan Spurlock's "Super Size Me," as well as the summer of the possible $100 million docu in Michael Moore's "Fahrenheit 9/11." Other docus soon to hit theaters include IFC Films' "Metallica: Some Kind of Monster," Zeitgeist's "The Corporation" and Sony Pictures Classics' "Riding Giants."

Though indie auteurs hate to admit it, we all know that the highbrow docu has gotten a major boost from lowbrow reality television. But experts also point to news programming as a driving factor in audiences' embrace of the form.

"What you are seeing with 'Fahrenheit 9/11,' " said SPC co-head Tom Bernard, "is sort of the left wing's version of CNN. It's the sort of left wing version you can't find on TV, but in a style that the mainstream is used to." Fellow co-topper Michael Barker pointed out that "as long as 15 years ago, it was very difficult for a (docu) to make any money at the boxoffice, but the quality of documentaries that have been made over the last 12-14 years has (gone up). People now are perceiving documentaries the same as they would any other mainstream entertainment."

SPC rolled out "Migration" to an Oscar nomination and $10 million and Errol Morris' "The Fog of War" to more than $4 million and an Oscar win a year later.

Meantime, Sundance's documentary section has fueled the trend, being lauded in recent years as the most consistent section found in Park City. "Giants," "Friedmans," "Super Size" and Palm Pictures' upcoming rock docu "Dig!" were all Sundance standouts. Distributors who don't have studio-based parents to cut big checks love documentary price tags and the films' home video value.

As Bernard indicates, films following high-concept themes, such as IDP's "Super Size," or newsy topics, such as Magnolia's "Control Room," are having an easier time than some. Magnolia's "Bukowski: Born Into This" has made about $200,000 since its May release.

Hollywood is taking note, too.

Docus are now serving as tested templates for narrative features and other entertainment. For example, "Spellbound" -- ThinkFilm's tale of spelling bee kids in cutthroat competition from 2003 -- is being pitched not only as a feature, but also a Broadway musical.