Is Taking Pictures Worth Watching? Honest Movie Review & Audience Verdict (1996)

The Narrative Arc & Core Premise

Debuting in 1996, Taking Pictures represents a sophisticated intersection of artistic ambition and genre-defining elements within the Documentary category. The primary thematic concern of the film is an investigation into Before the 1970s, the Commonwealth Film Unit represented the people of PNG in a paternalistic way, as curiosities. As the story unfolds, we are introduced to a world where the traditional boundaries of Documentary are tested.

The screenplay takes its time to establish the stakes, ensuring that every character motivation is grounded in a psychological reality. The synopsis only hints at the depth: "Before the 1970s, the Commonwealth Film Unit represented the people of PNG in a paternalistic way, as curiosities. The unit used pompous voice-overs telling viewers what they should believe. Les McLaren and Annie Stiven are two of a group of Australian filmmakers who have lived and worked in PNG during the past 25 years and who see their roles rather differently. Through their films, they have endeavoured to reflect Papua New Guineans' complexity of thought, language and culture, using a wide variety of filmic styles and techniques. The film features interviews with a variety of Australian filmmakers who have worked extensively in PNG, including Bob Connolly and Robin Anderson, Chris Owen, Dennis O'Rourke and Gary Kildea. This documentary is a fascinating tracing of PNG culture and history from the 1930s until today."

Artistic Execution & Performance Study

A film's resonance is often dictated by the strength of its execution, both in front of and behind the camera. Despite the inherent talent of Bob Connolly, the performance in Taking Pictures feels somewhat constrained by a narrative framework that doesn't fully exploit their range. There are flashes of brilliance, but the overall impact is muted.

The direction by Les McLaren is marked by a steady and professional hand. From a production standpoint, the film meets the high standards of modern industrial filmmaking. The sets are well-crafted, and the visual effects are integrated with a level of polish that ensures the viewer matches the director's intended level of immersion. While perhaps not groundbreaking, the execution is flawless. The pacing, over its 56 minute runtime, allows the audience to fully inhabit the space the director has created, making the eventual resolution feel deeply earned.

Critical Assessment: Why You Should Watch

Is Taking Pictures truly worth your investment of time and attention? In an era of disposable content, this film makes a strong case for its existence. If you are a connoisseur of Documentary, then this is a worthwhile watch if you have a specific interest in the themes or the performers involved.

The film's ability to perfectly execute its genre requirements is why it has earned its 0/10 score. It speaks to a global audience while maintaining a distinct and unique voice, a balance that is notoriously difficult to achieve in the modern marketplace.

Philosophical Subtext & Directorial Vision

At a deeper level, Taking Pictures explores the dichotomy of truth and perception. The 1996 audience is increasingly sophisticated, and Les McLaren respects this by refusing to provide easy answers to the story's complex questions.

The philosophical underpinnings of the second and third acts suggest a narrative that is interested in more than just entertainment. It is an exploration of what it means to be human in an increasingly complex world.

Final Editorial Recommendation

Ultimately, Taking Pictures is an interesting experiment that, while flawed, offers enough moments of creative spark to be worth a casual glance for the curious. Whether you are drawn to it by the star power of Bob Connolly or the critical acclaim surrounding its release, Taking Pictures is a film that demands to be seen on the largest screen possible.