Cohen Vs Theroux: The Comparison of Different Filmmakers

This essay focuses on the contrast between two different documentary filmmakers who have each produced products of high critique and reputation regarding the same topic: Jimmy Savile. This essay explores their differences in documentary styles, methods of work and a critique to their approaches of the topic along with a decoration of historical, theoretical, and contextual references throughout. Louis Theroux is a British – American Journalist, Documentary filmmaker, Broadcaster and Author who began his career working in the U.S as a Journalist for ‘Metro Silicon Valley’ and ‘Spy’. Theroux promptly moved into television working as a presenter and since, has received many recognitions including two British Academy Television Awards. Theroux exercises the participatory mode of documentation throughout his work and is glorified for his unique interview techniques and involvement within his productions. The Documentary by Louis Theroux studied in this essay is ‘Louis Theroux: Savile’.

This work is compared to ITV’S ‘Savile: Portrait of a Predator’ produced and directed by James Cohen. Cohen has continuously worked for the BBC, Channel 4, and ITV across the twenty years of his career. James Cohen has also been respectfully nominated for Grierson and RTS awards. ‘Savile: Portrait of a predator’ is an expository documentary which highlights a noticeable difference between the two products.

“Documentaries have become the flagship for a cinema of social engagement and distinctive vision” (Nichols, 2010, p. 3). Bill Nichols, an American documentary theorist, pursues to distinguish precise traits and conventions of documentaries, identifying six in his book ‘Representing Reality: Issues and Concepts in Documentary’ (Nichols, 1991) being poetic, expository, observational, participatory, reflexive and performative. Granting popularity for audiences to observe documentary modes imbricating; each mode is represented to provide a distinctive impact to audiences and further convey the filmmaker’s expression of product. “These six modes establish a loose framework of affiliation within which individuals may work.” (Nichols, 2001, P. 99).

An overt difference between these two documentaries is the style of documentary mode the filmmakers have chosen. James Cohen’s ‘Savile: Portrait of a predator’ possesses an expository mode of documentary. This style of documentary primarily appeared in the 1920’s when documentaries were first invented within the film industry and have therefore, kept a solid model and foundation of key conventions. Cohen’s Documentary is effortless for audiences to consume being accustomed to these conventions through the development of pop culture and an increase in documentary popularity. Standard conventions constitute an authoritative voice- over, images featured to support the narrative as well as interviews serving the films intentions.

Louis Theroux exhibits the fundamental aspects of a participatory documentary in which the effect of the filmmaker’s presence may be minimal or considerable in the domination and direction of the narrative. The level of engagement this sub – genre includes generates a sense of reality and involvement of the specific situation for audiences. The participatory documentary mode became popular in the 1960’s due to the accessibility of audio recording devices and increased development of handheld cameras.

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“Participatory documentary is a subgenre of documentary filmmaking in which the filmmaker is included in the film's narrative and directly interacts with the film's subjects. In this type of documentary form, the filmmaker may appear in front of the camera during an interview, be heard as voiceover behind the camera, and can even appear on camera without any other subjects.” (MasterClass staff, 2021).

The different choices in documentary modes creates the lasting effect the audience perceives in the filmmakers’ approaches. Cohen’s expository documentary has a sharper undertone in giving the audience facts and carries more strength in persuasion compared to Theroux’s documentary. This is because expository modes convince viewers of a strong argument and creates a straightforward impression of authenticity. “Documentaries started gaining actual recognition in the late 1920’s, early 1930’s. John Grierson was a pioneer of the genre and also was able to secure government sponsorship for his films in Britain. He saw value film had in bringing governmental issues like poverty and inflation to light and used the expository mode to get his point across to the audience.” (So the Theory goes, n.d.) This proves the power in persuasion an expository documentary can have on audiences due to its authoritative effect.?

Cohen’s documentary introduces archived black and white footage as the opening scene while interviewee, Gary Pankhurst – Former Detective, recites a memory as a voiceover. “My abiding memory is the particular account that was in a statement that I read of what had been a little boy. He described what would happen when Savile would come round…” (Portrait of a Predator. 00:00:07 - 00:00:17) The style of this interview and opening scene is professional and demonstrates key expository documentary elements. This includes the interview initially behaving as narration over the archived footage, professional lighting and steady camera angles paired with the interviewee being of an authoritative career position encourages audiences to trust the documentary. Interviews within this documentary do not feature James Cohen – an element of an expository documentary and key contrast between the two products of filmmakers.

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“Louis Theroux is cycling in circles in a furniture-free room in his house. “Come and look at my exercise bike,” he calls out to Jimmy Savile, who’s visiting. Then they’re sitting in the garden together. Jimmy – wearing skimpy shorts, string vest, gold plastic mirror glasses and inevitable cigar – is playing the guitar. Time for Jimmy to go now. “If you ever do need a place to crash in London, you’ve seen you’ve got a room upstairs,” says Louis, at the door. “I’m serious,” he adds, looking it.” (The Guardian, 2016)

Theroux’s opening scene is footage of himself which is an indisputable convention of the participatory mode. Theroux is the main character in his production and constitutes an investment from the audience into the personality and celebrity of ‘Louis Theroux’. This is acknowledged and expanded upon by authorising the documentary subject to spotlight how Jimmy Savile misled Louis Theroux and hid this criminal aspect of his life from him. The opening scene reminds the audience of Savile and Theroux’s previous relationship which establishes and justifies the making of ‘Louis Theroux: Savile’. Between personal interviews Theroux conducts with Savile victims, this theme recurs throughout the documentary, making the overall impact of ‘Louis Theroux: Savile’ less authoritative and more emotional.

Although both documentaries centre around the same subject matter in addition to being post Jimmy Savile’s death, each filmmaker has a different ‘story’ they reveal to the audience. While neither filmmaker provides new information about Savile surrounding his crimes or life, Theroux’s participatory approach is personalised specific to his version of the truth and how he was misled by Savile. A quote from Louis Theroux in his documentary, “We had a friendly relationship since making a documentary together the previous year…But I never found out the truth while he was alive.” (Louis Theroux: Savile. 00:00:30 – 00:01:09)

Cohen’s expository documentary monopolises on the callous derangements of Jimmy Savile’s crimes and how he misled masses along with a focus on the understanding of how he committed these crimes. The documentary’s evidence is supported by archived news broadcasts and professional figure Gary Pankhurst, Former detective (Savile: Portrait of a Predator, 00:01:39 – 00:01:50) “In my opinion, Savile was a high functioning psychopath and having dealt with many sexual offenders in my career, he was definitely one of the most dangerous and prolific offenders I’ve ever come across.”

Critics agree with this differentiation between films as Cohen’s documentary was described as a new investigation “asking how one of this country’s most prolific sex offenders was able to wreck lives with impunity despite his brash, decade – long presence in the public eye.” (Radio Times, n.d.) This is a contrasting approach and objective to Theroux’s product which “sets out to try understand how he, and everyone else, failed to see it, and how Savile got away with rape and child abuse on a massive scale for so long.” (The Guardian, 2016)

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Exploring the differing approaches for each filmmaker is exploring their differing features of camera work, editing styles and interview techniques. “Film theory began in the 1920s because filmmakers wanted to understand film elements and how they could make their own films more meaningful and effective. Early film theory analyzed camerawork and editing. In the mid-1940s, film theory’s focus shifted towards analyzing the way film could capture reality. In the 1960s, film theorists became influenced by academic fields including psychology and gender studies.” (Nashville Film Institute, n.d.)

Theroux’s constant impression his documentary has on audiences is a softer approach to gaining information. This is because of his interview techniques. Theroux exhibits a participatory mode of documentary and therefore, his interactions with his interviewees are more invested into the subject from as a personal reaction. Theroux has a friendly, open, and curious attitude throughout his documentary. He listens to interviewees which format in a conversationalist style and high level of engagement. This gives the audience a sense of what it is like to be present in the given situation. The audience also witness the impact the filmmaker has on the circumstances and subjects’ reactions.?

This level of engagement from a filmmaker can provoke a deeper connection in honesty with interviewee responses which audiences understand as a reaction. In Theroux’s documentary, it is evident his subjects have built a strong relationship with him and therefore, stronger trust. It Is apparent that Theroux invests time into each of his interviewees, in turn, making them feel more important and building individual confidence. The interview style carries less pressure due to the unprofessional, casual mise - en - scene of limited equipment and rapport build with the interviewee.

This is the opposite to an expository documentary and consequently Cohen’s documentary. Cohen’s interview technique has professional conventions with studio lighting and setting, close ups and mid shots of the interviewee with no feature of the filmmaker. The tonality is authoritative, and the interviewees are used to accelerate the narrative.

Thomas Edison developed a handheld camera in 1896 and in 1908, Wilbur Wright was filmed flying his aircraft on the outskirts of Paris. “French ethnographer Jean Rouch was the first to shoot a film with a handheld camera, Moi Un Noir, in 1958. Rouch, considered a pioneer, triggered this visual revolution by favoring a small amateur camera – a 16mm- against the big bulky professional camera in use at the time to shoot anything professional.” (Mentorless, 2013) A benefit to handheld camera work is the ease in mobility and through years of technological development, the sizing and weight of cameras have decreased while quality has increased.

Louis Theroux utilises handheld camera movements throughout his documentary. This benefits his interview techniques and participatory approach in creating a relaxed setting and film. This camera technique also designs a spontaneous aesthetic to filming and interviews. Scenes are predominantly mid shot to benefit an establishing shot however, close ups are used to cause a serious or emotional tonality. A handheld camera is in a constant state of adjustment allowing framing to adapt to any situation, advancing a spontaneous aesthetic of production. Theroux travels from location to interviewees in his documentary. This camera approach benefits his pace to show audiences the authenticity of production, provoking audience trust. This style references Dziga Vertov theory of using the camera as an instrument to create and explore the genuine happenings of life. (Britannica, n.d.). ?

James Cohen’s uses archived footage from news programmes, Top of the Pops and videography from Savile hosting his television shows. A narrator and professionally conducted studio interviews are displayed in intervals between these shots which justify and support the footage being shown. The essential discrepancy between both interview styles is the participation of the filmmaker. Cohen is not featured in this documentary nor his opinion, behaviour, or reactions evidently present.

“Since the early days of film, editing and production techniques have found ways to trick the mind. From forced perspective and rear projection production techniques to modern day green screen and CGI — it’s all visual trickery.” (PremiumBeat, 2017) Neither documentary’s use complex editing styles. Both use similar editing styles that suit their documentary mode with non- linear narratives incorporating past archived footage of Jimmy Savile most suited to the filmmaker’s product. Both documentaries cover a serious topic in their own way. The discernible differences in approaches include their interview techniques and documentary modes rather than their editing techniques.

Both documentary filmmakers have a particular approach to their working methods. Cohen decided to interview subjects of authority opposing to Theroux who elected interviewees with close relationships to Savile. This is because both filmmakers serve a different sub – genre of their topic and need to obtain the interviewee they believe will be most suitable in supporting the aim of their documentary. As stated previously, Cohen uncovers how Savile hid within masses supported by professional and factual input, whereas Theroux seeks to gain a better understanding of how he, personally was misled by Saville. Theroux gathers this understanding by referencing his old work and gaining opinions of people close to Savile during 2001. Both documentaries also interview Savile victims. ?

?“Primary sources are materials that are eyewitness accounts or as close to the original source as possible.” (American University Washington DC, 2014) Methods of research used are visually primary. The audience observe Theroux actively receiving primary information from his interviewees which audiences do not witness Cohen doing. Although this is the nature of the separate documentary modes, Cohen’s primary research is maintained from his interviewees. Cohen’s narrative is frequently dispersed with facts by a narrator which is secondary research. Theroux’s narrative is carried by interviews allowing the audience to uncover the ‘truth’ with Theroux meaning Theroux has a more in-depth primary method to his research and conducting of documentary.

In conclusion of this essay, James Cohen and Louis Theroux have different approaches and methods to making a documentary which is significantly contrasted in their choices of documentary modes. Although both filmmakers have chosen to centre their topics on Jimmy Savile post his death, they have each individually adjusted their modes, methods, and approaches to best suit their brand and demographic. Cohen’s documentary displays key expository elements, best suited for his factual authoritative film compared to Theroux’s participatory documentary showcasing Theroux on camera featured as a main character, invested on - screen relationships with interviewees and a therefore, heavier visible primary approach to his research. Despite their differences, both documentaries succeeded within their genre’s providing an entertaining and informative watch for viewers based on how Jimmy Savile possessed the ability to manipulate others. This is supported by the evaluated differences each filmmaker carries in the above essay. 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Reference List

American University Washington DC. (2014). Primary vs. Secondary Sources. Retrieved from https://subjectguides.library.american.edu/primary

Britannica, (n.d.). Dziga Vertov Soviet director. Retrieved from https://www.britannica.com/biography/Dziga-Vertov

Cohen, J. (2021). Savile: Portrait of a Predator [Film]. ITV.?

The Guardian. (2016, 2 October). Louis Theroux: Savile review – from awkward to seriously uncomfortable … and extraordinary. Retrieved from https://www.theguardian.com/tv-and-radio/2016/oct/02/louis-theroux-savile-review-awkward-creepy-uncomfortable-extraordinary

MasterClass. (2021, 28 June). Guide to Participatory Mode: 3 Participatory Documentaries. Retrieved from https://www.masterclass.com/articles/guide-to-participatory-documentaries#what-is-participatory-documentary

Mentorless. (2013, 10 July). The Birth of Hand Held Camera and How It Revolutionized the Way We Film. Retrieved from https://www.mentorless.com/2013/07/10/fascinating-the-birth-of-hand-held-camera-and-how-it-revolutionized-the-way-we-film/

Nashville Film Institute. (n.d.). Film Theory: 40 Things You Need to Know. Retrieved from https://www.nfi.edu/film-theory/

Nichols, B. (2001). Introduction to Documentary. Indiana University Press.

Nichols, B. (2010). Introduction to Documentary (2nd Ed.). Indiana University Press.

Nichols, B. (1991). Representing Reality: Issues and Concepts in Documentary. Indiana University Press.?

PremiumBeat. (2017, 5 December). Editing Theory: How to Manipulate The Passage of Time. Retrieved from https://www.premiumbeat.com/blog/editing-theory-manipulate-passage-time/

RadioTimes. (n.d.). Savile: Portrait of a Predator Review. Retrieved from https://www.radiotimes.com/programme/b-tuo22r/savile-portrait-of-a-predator/

So The Theory Goes. (n.d.) The Expository Mode. Retrieved from https://www.sothetheorygoes.com/documentary-expository-mode/

Theroux, L. (2016). Louis Theroux: Savile [Film]. BBC.