“Tell the truth and shame the devil”: Robert Frank had turned 80 when he set out to make True Story, repurposing still photographs, home movies, and excerpts of completed films to reflect on memory and resilience. Moments of delight (a lobster claw and wiggling toes silhouetted against the sky) brush against moments of melancholy (the camera drifting across one of his son Pablo’s tortured collage letters written in microscript: “He wanted to say everything, he wanted to get rid of his loneliness…”); an inventory of enfeeblement (“swollen toes, nails falling out, gum disease, itching, irregular heartbeat”) gives way to an image of steadfastness (the crotch of a old tree stump propping up another tree). — Museum of Modern Art
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5.7/10“Tell the truth and shame the devil”: Robert Frank had turned 80 when he set out to make True Story, repurposing still photographs, home movies, and excerpts of completed films to reflect on memory and resilience. Moments of delight (a lobster claw and wiggling toes silhouetted against the sky) brush against moments of melancholy (the camera drifting across one of his son Pablo’s tortured collage letters written in microscript: “He wanted to say everything, he wanted to get rid of his loneliness…”); an inventory of enfeeblement (“swollen toes, nails falling out, gum disease, itching, irregular heartbeat”) gives way to an image of steadfastness (the crotch of a old tree stump propping up another tree). — Museum of Modern Art
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