mdblist.com logo The Best John Marshall Directed Movies


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poster
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10
/1/

The Wasp Nest (1972)
In this film, a group of women and children gather sweet, fresh /ole berries and sha roots. The younger women, led by N!ai, bait a nest of wasps. As the day wears on, Debe, N!ai's youngest son, grows restless. Di!ai asks N!ai to take Debe home, but she refuses, and walks off to join the younger women. The film explores the interactions between these women as they engage in their everyday pursuit of food. It is a companion film to Debe's Tantrum.
poster
Kanopy
?
7.9
/18/
45
/2/

Bitter Melons (1971)
This film, shot in 1955, focuses on a small band of /Gwi San living in the arid landscape of the central Kalahari Desert in present-day Botswana.
poster
?
10
/1/

Men Bathing (1973)
In Nyae Nyae, water often remains in open pans. Sometimes if the rains have been heavy, water stays in these pans, like small lakes, all year. In this film five Ju/'hoan men visit Nama pan. /Ti!kay washes the clothes he acquired on his trip to rescue his band's wives from a farm (as shown in An Argument About a Marriage). The other men bathe. The men use the opportunity to exchange sexual jokes with pleasure and hilarity. This film provides an interesting comparison with A Group of Women.
poster
?
10
/1/

Playing with Scorpions (1972)
Between 1950 and 1958, John Marshall made four expeditions to film the Ju/'hoansi (a group of !Kung Bushmen) of the Nyae Nyae region of Namibia (then South West Africa). During this time, Marshall shot over 300,000 feet of 16mm film (157 hours). He later produced a total of 23 films exclusively from this footage. In this short film, children tempt fate by playing with scorpions.
poster
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10
/1/

Youth and the Man of Property (1973)
A suburban couple calls the police to intervene after being harassed by a youth.
poster
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10
/1/

You Wasn't Loitering (1973)
This film treats the problem of "loitering." In a number of sequences, police warn youths, police administrators discuss enforcement of loitering laws, officers are insulted, and several youths are arrested.
poster
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10
/1/

Wrong Kid (1973)
The police, looking for a suspect, question the wrong youth.
poster
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10
/1/

Vagrant Woman (1971)
An unemployed woman who has been living in her car is questioned by the police. They offer her advice and finally take her to the Salvation Army.
poster
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10
/1/

Two Brothers (1973)
This short film shows a family's attempt to resolve a dispute among themselves over a brother's damaged car, after the police have been called to intervene.
poster
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10
/1/

Twenty-One Dollars or Twenty-One Days (1973)
A man arrested for disorderly conduct and resisting arrest tells his story in night court.
poster
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10
/1/

Investigation of a Hit and Run (1972)
Investigation of a Hit and Run follows two officers as they investigate a hit-and-run accident from initial reports to the questioning of witnesses and the interrogation of the suspect, an eighteen-year-old boy nicknamed Pumpkin, along with his girlfriend and brother. A number of factors complicate the case: the suspect was without a driver's license; he reported the car stolen to cover himself; he could not be persuaded to confess; and the girlfriend is pregnant. The police use considerable pressure on the girl, and treat her eventual statement as though it were a confession.
poster
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10
/1/

Nothing Hurt But My Pride (1973)
This film consists of several sequences related to arrests after street fights involving policemen, and discussions of the incidents by the police in cars and at the station.
poster
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10
/1/

Manifold Controversy (1973)
A customer tries to explain to police why he feels he has been cheated out of an exhaust system by a garage owner.
poster
?
10
/1/

The Informant (1973)
This film focuses on a black burglary suspect who, during interrogation by police offers his services as an "undercover" informant - providing the police will suppress his charge.
poster
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10
/1/

The 4th, 5th, and the Exclusionary Rule (1973)
This film consists of sequences from the Pittsburgh Police footage intercut with a panel discussion moderated by Professor James Vorenberg of Harvard Law School. Community organizers, police, students and lawyers discussed the issues raised by four sequences, including the implications of the 4th and 5th Constitutional amendments, and the Exclusionary Rule of Evidence for search, seizure, and interrogation procedures. The film demonstrates the multiplicity of roles in police work, and examines the conflicts between how the police define their duties and what the public expects of them.
poster
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10
/1/

A Forty Dollar Misunderstanding (1973)
Policemen intervene when a woman calls to complain that her boyfriend stole forty dollars. The argument soon escalates as the man refuses to admit that he took any money, and the woman, losing her temper, crashes a glass window and cuts her hand. The police try their best to diffuse the situation and eventually take the woman away from the scene.
poster
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10
/1/

901/904 (1972)
Follows police patrol cars 901 and 904 as they ply the streets of Pittsburgh, responding to diverse situations.
poster
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10
/1/

After the Game (1973)
Police search for drugs in a house where they arrest a group of boys who return from a basketball game and are accused of having a loud party and sniffing glue.
poster
?
10
/1/
50
/3/

An Argument About a Marriage (1969)
An Argument About a Marriage raises questions about the impact of European farms on the economic and the social life of the Ju/'hoansi; about the complexities of marriage rules and bride-service in their traditional kinship system; and about the nature of conflict and its mediation among the Ju/'hoansi. Despite the interpersonal anger, we see how oma's skillful intervention prevents this particular conflict from escalating to violence.
poster
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10
/1/

The Lion Game (1970)
/Gunda, a young man (who later marries N!ai), pretends to be a lion. He is "hunted" and "killed" by a group of boys.
poster
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10
/1/

Inside Outside Station 9 (1970)
An installment in the Pittsburgh Police series. A number of short sequences show some of the events and people in the daily lives of several policemen: their intervention in domestic quarrels, the handling of a hit-and-run case, the approaches taken toward loitering youths, a drunk and disorderly charge being made in Magistrate's Court, and the interrogation of a burglary suspect. Police force candidates are shown being interviewed by members of the police department. They discuss their reasons for wanting to be policemen and their thoughts about themselves and their jobs, placing the film in the context of the community from which the department draws its personnel.
poster
Kanopy
62
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6.9
/127/
58
/6/
61
/6/

The Hunters (1957)
An ethnographic film that documents the efforts of four !Kung men (also known as Ju/'hoansi or Bushmen) to hunt a giraffe in the Kalahari Desert of Namibia. The footage was shot by John Marshall during a Smithsonian-Harvard Peabody sponsored expedition in 1952–53. In addition to the giraffe hunt, the film shows other aspects of !Kung life at that time, including family relationships, socializing and storytelling, and the hard work of gathering plant foods and hunting for small game.
poster
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10
/1/

A Curing Ceremony (1969)
Sha//ge, a very young woman about to have her first child, falls ill, probably with malaria. /Ti!kay, a relative and healer, enters a mild trance, without the stimulus of dancing, in an attempt to cure her. Sha//ge lives but the baby is stillborn.
poster
?
7.6
/65/
10
/1/
57
/3/

N!ai, The Story of a !Kung Woman (1981)
This film provides a broad overview of Ju/'hoan life, both past and present, and an intimate portrait of N!ai, a Ju/'hoan woman who in 1978 was in her mid-thirties. N!ai tells her own story, and in so doing, the story of Ju/'hoan life over a thirty year period. "Before the white people came we did what we wanted," N!ai recalls, describing the life she remembers as a child: following her mother to pick berries, roots, and nuts as the season changed; the division of giraffe meat; the kinds of rain; her resistance to her marriage to /Gunda at the age of eight; and her changing feelings about her husband when he becomes a healer. As N!ai speaks, the film presents scenes from the 1950's that show her as a young girl and a young wife. The uniqueness of N!ai may lie in its tight integration of ethnography and history. While it portrays the changes in Ju/'hoan society over thirty years, it never loses sight of the individual, N!ai.
poster
Kanopy
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To Hold Our Ground: A Field Report (1991)
For thousands of years Ju/'hoansi have lived in the Nyae Nyae region in northeastern Namibia. In the 1950s, most Ju/'hoansi had been exterminated or were dispossessed by white colonists and black farmers, but in Nyae Nyae Ju/'hoansi were still the only permanent inhabitants. Waterless approaches isolated their ancient communal land and protected them from enslavement.


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