More on Jacob Young.

Just as I expected, the new Jacob Young film was both interesting and entertaining. Todd Walker (along with his "brothers" Davy and Dale) proved to be likable, amusing, and obsessive. The object that Walker suspected to be the biblical artifact of divination (the Urim and Thummin) was indeed wholly unidentifiable. As a focal point of meditation, it did have the requisite qualities to promote hallucinatory visions. Its surface (especially the interior) was both luminescent and oddly-shaped. Walker put the thing in the hands of many witnesses, and their testimony is (at least) indicative of the power of faith.

What passes for expert authority in the Appalachian communities of the film certainly made me chuckle. When Walker wants to find some especially convincing support, he turns to a two-time Jeopardy champion and the manager of the local Auto Zone. Only later does he drive to Vanderbilt University, where academics in religious studies, archeology and psychology demonstrate tremendous diplomacy and tact in meeting with him. Truth be told, it would have been quite easy for them to laugh at Walker from their "ivory towers". Perhaps Young's cameras restrain them. Nevertheless the scholars give generously of their feedback, while every established religious institution pushes Walker away. While Young claims the resistance from church leaders amazed him, I wasn't at all surprised by it. Walker's claims are a direct challenge to their perceived authority. If a bumpkin can receive a holy gift of true vision, then what does that say about the role God has bestowed upon HIS priests?

It was clear during the Q and A session that Young had great affection for his subjects. The director explained that the project was initiated because his producer and partner (Dub Cornet) had a phone number that Walker responded to numerologically. Cornet shot a bunch of video that Young was later tasked with making into a coherent film. Although Young never derived the same otherworldly experiences from the object that others had, he was sure to avoid passing judgment on the phenomena. He absolutely refused to discount Walkers' beliefs. Young pointed out that he needs to be on his subject's side if he is to make a quality documentary. And in order for his films to have any real depth, he has to convey the spirituality of the people in front of the camera. Any element of obvious skepticism would introduce a confrontation that would spoil his intentions. Young is, by his own words, inspired by people on a mission- and the more unlikely his subject is to succeed, the more interesting a subject he/she becomes.

Anyone who spends any substantial time with the works of Jacob Young will understand the purity of his intentions. But that wasn't the case with the network (CBS) executives who pulled the plug on his latest project- The Real Beverly Hillbillies. Cornet and Young had decided to update the original concept for reality television. They identified an Appalachian family (the Griffeys) and planned to install them in a genuine multi-million dollar mansion in Hollywood. The idea encountered political resistance from people who believed that the show would prove to be patronizing and exploitative. But that was never the intention of the filmmakers. It was Young's contention that all the truly negative portrayals in the original Beverly Hillbillies centered on the city sophisticates. The country-folk were shown to be caring, authentic and morally sound. Young made it a point to select a family that would be an ideal representation of Appalachia. He claims that anyone that met them couldn't help but like them.

When the project was killed, Young and Cornet felt bad that the Griffeys had been promised so much that was later snatched away. They took the money they had left from preproduction and rented a motor home to take the family cross-country. The intention was to both give the Griffey's the grand tour of America and to film a defense of the original concept. The result was a documentary called The True Adventures of the Real Beverly Hillbillies (2006). Although I haven't seen it, I expect it to be a perfect palliative to the corrosive belief that authentic regional phenomena ought to be sugar-coated or homogenized for public consumption.

In fact I'd say that what I most enjoy about Young's films is their honest depiction of a widely misunderstood region of the country. This is most evident in his Different Drummer collection. I was lucky enough to buy a rough copy of the DVD set from the man himself. I stayed up late last night watching all the episodes. Now you too can be so fortunate as to own this set. Visit the Dancing Outlaw website to purchase it and other fine products.

Jacob Young @ Film Kitchen on Tuesday, June 12th.

I know that, during the run of this blog, I've made only scant mention of West Virginian filmmaker Jacob Young. That's a bit of an egregious oversight. Young is one of the most compelling documentarians working in the United States. He's focused his efforts on presenting people and stories from his home state. Of course when you're born in the Mountaineer State (the most beautiful and enigmatic place in the Eastern United States), there is plenty of ground to cover.

Some of Young's early subjects have included Appalachian junkyard owners, the rich industrialist who plagues the land with those goddamned three crosses, the warden from the Moundsville Penitentiary, white supremacist author Dr. William Pierce (author of The Turner Diaries - a book found on Timothy McVeigh after the Oklahoma City bombing), and the swami-turned-felon of the North American headquarters of the Hare Krishnas. Young has received some well-deserved praise for his West Virginia Public TV-produced Different Drummer series, which (of course) documented the antics of a string of eccentric WV characters. One episode is about a senior citizen hussy, who dolls herself up and sings show tunes in the dives of the hollers, performing as "Amazing Dolores".

But Young has received his greatest notoriety with The Dancing Outlaw. This was a documentary about the "Last Mountain Dancer", Jesse White. This Boone County native has appropriated at least two alter egos- Elvis (The King) and Satan himself (nicknamed "Jesco"). Young presented White, his family, and his girlfriend in all their backwoods splendor. Jesco assumes center stage as he relates stories about his lamentably departed father and siblings, and his own gas-huffing, thieving, and alcohol-sodden childhood. But when he's not raising hell White plies his trade in a mix of clog and tap dancing, accompanied by bluegrass music. This was his own father's stock-in-trade, and Jesse has aspired to keep the dying art alive.

Having received his fifteen minutes of fame, Jesco later resumed his place in the spotlight when Roseanne Barr became a fan of The Dancing Outlaw. He was actually invited to Hollywood to appear on her show, and Young was along for the ride to document his adventure. All did not go as expected. Barr had Jesco removed from the set when she noticed a tattoo of a swastika on his arm. White later had the offending symbol covered up when he realized its significance. He explains that it was merely a youthful indiscretion.

It would be a more just world if Jacob Young had received as much acclaim and name recognition as Jesco. But his misfortune pays off for us tomorrow. We can actually meet him in person at Pitsburgh Filmmakers in Oakland (Melwood Street). He'll be at Film Kitchen, presenting his newest documentary- Urim and Thummim*. It's about a man named Todd Walker who bought an object at a Nashville Goodwill for 69 cents. Apparently he was pleased to discover that the thing proved to be a visual gateway to both Heaven and Hell. But evidently others were skeptical about his claims. Young followed Walker on a "witness tour" aimed at convincing the locals that the relic was a genuine and miraculous holy object.

If you are so inclined, you can chat with Jacob Young at the reception (7PM) that precedes the screening. I've spoken with him on two previous occasions, and I've found him to be both accessible and generous with his thoughts. But if you are the shy sort, stick around for the Q & A session after the film. It's sure to be illuminating.


* - Find out more about this obscure-sounding title here.