Most Helpful Customer Reviews
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5 of 5 people found the following review helpful:
5.0 out of 5 stars
Perfect Documentary - Flawed Extras, 22 Jun 2005
By A Customer
Wonderful exploration of the life and work of the great American architect Louis Kahn, directed by the son he never openly acknowledged. Of the extras, the Q&A with Nathaniel Kahn is priceless, and includes this memorable quote from his father: "A good idea that doesn't happen is no idea at all."Unfortunately, getting Tom Dawson (who he?) to conduct the 'exclusive UK interview' with Nathaniel Kahn wasn't a good idea. Kahn is engaging and interesting, while, off-camera, Dawson attempts the world record for saying 'yeah', 'yes!', and 'right' at inopportune moments. As result, sadly, the interview is virtually unwatchable. But the film is reason enough to buy this DVD.
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5 of 5 people found the following review helpful:
4.0 out of 5 stars
Architecture, life and love, 30 Mar 2005
By A Customer
This journey to the heart of what it means to be human is also a poignant exploration of the life and loves of a great architect. Louis Kahn has reached almost mythical status as the architect of some of the most beautiful buildings in the world. He died mysteriously, leaving behind massive debts and three children who hardly knew him. This film is about his son's quest to piece together his father's legacy - to place his father, and therefore himself in the world. The architecture is incidental, but so sublime, that it becomes the central driver in exploring the ultimate question of 'who am I?'.
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4 of 4 people found the following review helpful:
5.0 out of 5 stars
SON DISCOVERS FATHER THROUGH HIS ARCHITECTURAL ACHIEVEMENTS, 8 Aug 2006
Director Nathaniel Kahn had been the illegitimate son of Louis I. Kahn perhaps the world's most unique architect. Nathanial was the product if Louis' second of two sequential extramarital liaisons that he maintained during his life. Louis had a daughter with his wife, Esther, with whom he lived. Also, Louis had an illegitimate daughter with an earlier mistress.
Louis died suddenly, alone in New York City's Grand Central Station in 1974 at age 73. When he died, Louis was not carrying identification. Thus police investigators had to discover who Louis Kahn had been after which his unusual multiple family arrangement became public knowledge. Nathaniel was 11 years old then; now, these many years later, his documentary takes the form of a quest to discover thourgh Louis'buildings who his father had been.
The film is somewhat dichotomous. There's the personal side of Louis' life and there's the professional side with his extraordinary achievements as an architect. While there's no question that personal aspects often help illuminate artistic accomplishment, "My Architect," as a son's personal investigation, tends to devote more time to family matters than understanding Kahn's accomplishment. Indeed, the film makes clear that Kahn, the driven, workaholic architect, put his work ahead of all three families at all times. The work throws far more light on the relationships than the relationships do on the work.
Nathaniel's film uses the usual documentary techniques of interviews, talking heads, archival footage, photographs, letters and newspapers for telling its story. New footage takes us on tours of many of the important Kahn buildings: the Kimbell Art Museum in Fort Worth, the Salk Institute in La Jolla, the library at the Phillips Exeter Academy in New Hampshire, the National Assembly in Dacca, Bangladesh. Louis' friend, art historian Vincent Skully, characterizes the Kahn buildings as works of symmetry, order, geometric clarity, and great weight; they are enduring monuments.
Not only are Kahn's buildings of exceptional beauty, but they are also a highly individual expression of modernism, totaly different from the prevailing walls of glass and steel that had come to dominate the cities of the world. Kahn's are buildings with a distinct air of mysticism influenced by its historical predecessors from the Egyptian Pyramids to medieval castles to 19th century industrial architecture.
Nathaniel, troubled by his family's history, insists that his half-sisters answer the question: "Are we a family?" Then virtually badgering his mother, Harriet, "Don't you get angry with him?" She doesn't answer, instead throwing the question back at him. He remains silent but his lingering conflicts are clear from the tone of the question itself. Wasn't Nathaniel listening when, in an earlier interview, Susannah Jones, his mother's close friend, says with conviction that Harriet's was "an immense, lifelong love...That kind of love is on the side of life and is a good thing?"
Seeing Kahn's spectacular, emotionally provocative architecture and Nathaniel's quest to discover through them who his father was is certainly worth seeing.
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