After years in development, Freedom
and Unity: The Vermont Movie, a six-part collaborative documentary, begins a
three month roadshow tour this weekend, with premiers and discussions scheduled
across the state.
The six films synthesize the
contributions of more than three dozen filmmakers and historians into an
expressive, educational and occasionally provocative experience that explores
the state’s unusual past and diverse contributions.
The Vermont Movie will tour the state
from Sept. 27, 2013 to December 4, 2013.
To promote dozens of screening
locations and dates, the production has set up an online Tour Schedule.
Gala
Premieres in various Vermont counties will include catered receptions before
the screening of Part One, and a Question & Answer session afterward.
Screenings of Parts Two through Six will also include Q & A panels with
Vermont Movie filmmakers and authorities on the content.
Project coordinator and chief
editor Nora Jacobson has spent years pulling together the pieces of this
complex puzzle, shaping them into a thematically-driven narrative that is
original, substantive and dramatic. The result is a series of films – each effective
on its own – that explore the state’s nature over time through intimate
portraits, indelible stories, dramatic recreations and interconnected topics.
Part One, titled A Very New
Idea, examines the roots from which the future state grew. Samuel de
Champlain steps into a canoe, paving the way for Yankee immersion into native
culture. Along the way we see early settlements, native peoples’ resistance,
and the little-known history of African American settlers.
Pioneer rebel Ethan Allen leads
the struggle for independence, resulting in Vermont’s radical constitution –
the first to outlaw slavery. Later, Vermont’s heroic role in the Civil War
suggests that, despite occasional missteps, the state motto – Freedom and Unity
– is especially apt.
As its title states, Part Two digs Under the Surface of the state’s bucolic image to explore labor
wars, eugenics experiments, the McCarthy era, and progressive Republicanism.
Covering almost a century -- post-Civil War to the 1950s — it chronicles the
rise of unions and quarry work, Barre’s Socialist Party Labor Hall, the
marketing of Vermont, the state’s reaction to New Deal policies, George Aiken's
gentle populism, and Republican Ralph Flanders’ heroic stand against Joe
McCarthy during the Red Scare. It also chronicles how emigrés from urban
areas, “back-to- the-landers” like Helen and Scott Nearing and Nora Jacobson’s
father came to Vermont in search of an alternative lifestyle.
Part Three, called Refuge,
Reinvention and Revolution, begins in the mid-20th century, with
political pioneers like Bill Meyer, a Congressman who challenged the Cold War,
and Gov. Phil Hoff, whose 1962 victory set the stage for change.
Innovation is reflected in the work of “talented tinkerers,” the rise of IBM, and
the creation of the Interstate highways. But we see both the pros and cons,
along with the high price of “eminent domain.”
Revolution was also in the air,
and rare archival footage in Part Three provides a vivid look at the "hippies," the
realities of communal life, and the paths of members of the counter-culture who
established roots.
Titled Doers and Shapers, Part
Four explores people and institutions that have pushed boundaries. Starting
with education, it takes viewers on an engrossing journey through the
philosophy of John Dewey, then to the hands-on style of Goddard College, the
Putney School, and the inseparable connection between education and democracy.
Exploring other progressive movements, Vermont’s billboard law, Act 250 and
Bread and Puppet Theater, it concluded with touching moments from Vermont’s
groundbreaking move toward gay marriage.
Part Five – Ceres’ Children – provides
a deeper look at some of Vermont’s cherished traditions: participatory
democracy and the conservation ethic, moving from the ideas of early
environmentalist George Perkins Marsh to contemporary volunteer groups and
movements.
Here The Vermont Movie captures
21st century debates over natural resources, then circles back in time to show
how these concerns originate in the ethics of farmers, who depended on the
natural world for their survival. The disappearance of dairy farms has raised
tough questions explored in the film: How big is too big? How can Vermont survive
in a world economy? And can it be a model for small, local and self-sufficient
farming?
The final installment is called
People’s Power, and tackles contemporary tensions over energy, independence,
the environment and the state’s future. Chronicling the struggle to close the
Vermont Yankee nuclear plant, it shows the power of protest, the influence of
lobbyists and the importance of town meeting debate and a citizen legislature.
It also follows the battle over windmills in Lowell—a struggle over scale,
aesthetics and environmental impacts—and explores thorny questions about
economics, sovereignty and climate change.
Toward the end, the devastating
impacts of Hurricane Irene reveal the power not only of nature, but of people
and community.
Prior to this production
Jacobson’s directorial credits included Delivered Vacant, a documentary
exploration of gentrification in Hoboken, and two independent features, My
Mother’s Early Lovers and Nothing Like Dreaming, both shot in Vermont.
Early
in the evolution of The Vermont Movie, Jacobson opted for an ambitious,
collaborative approach. Each filmmaker or team could pick one or more topics to
develop, with periodic opportunities to share work in progress with peers and
discuss how various segments could relate to the film’s overarching focus –
Vermont’s independent spirit over the centuries.
As originally submitted early
segments varied widely in style and content, and also left significant gaps in
the story. But as more sequences were shot, dozens of interviews conducted, and
rare old footage was rediscovered Jacobson ultimately evolved an approach that
is original, unifying and evocative.
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