Parallel Lines

Wednesday night, Bruce, Jason and I watched Nina Davenport's 2003 film, "Parallel Lines." We were previewing it for possible use at a movie night with the Brooklyn Humanist Community.

For that purpose, "Parallel Lines" flunked the test. It was solid documentary where I expected a bit more of a story line from a "docudrama." Still, although it reached no solid conclusions, it was a road movie that captured the thoughts and emotions of so many different Americans.

Some were deeply affected by 9/11, even from thousands of miles away. Others hadn't even heard about the attack until several days later, and it didn't impact much on their emotions or their everyday lives. But for most people, it evoked feelings about loss and sorrow in their own personal histories.

Nina Davenport seemed fearless as she trekked across America, taking the scenic route in order to arrive in New York City in time for New Year's Eve in Times Square. She entered strangers' homes, took boat rides with them, got into their cars to film their responses as they drove. She did, in short, all the things our parents warn us not to do. Yet, she emerged unscathed from all this risky behavior, her deepest wound being the personal sense of loss 9/11 brought out in New York residents.

Ms. Davenport encountered so many lonely people, the entire cast of "Eleanor Rigby." Talking about 9/11 brought out personal tragedies: the mother whose children were taken from her, the flea market man mourning his father's death the week before, the cowboy whose mother had killed his violent father. Davenport stopped in Oklahoma City to speak with a woman who'd escaped death in the Oklahoma City bombing only because she was sick and not at work that day. Her survivor guilt is a mirror for all those who were absent or late to work on 9/11, while their colleagues and friends perished.

Sometimes she encountered negative attitudes: the man who said, what does the United States expect, we've done things like this to people in so many other countries, did we really think it would never happen here? She encounters an elderly black man who is so suspicious that he nearly calls the police on her just for being someone he doesn't recognize. But then he realizes she is not out to hurt anyone, and he invites her into his ramshackle home to tell her his story.

In D.C., suspicion runs rampant. Davenport is nearly arrested for driving around with her camcorder mounted on the roof of her car. She explains over and over that she's making a road movie and the camcorder is filming the view of the open road. Not having any of it, the police tell her to move along. She decides it is high time to get herself back to New York City, the place where she belongs.

Arriving back in NYC on New Year's Eve, Davenport joins the crowds in Times Square, under much heavier security than ever before. But the crowd sees the police as friends and protectors, and when the ball drops at midnight, the police receive loving hugs from the assemblage.

In the final scene, Davenport goes to Ground Zero. Unable to directly look at the wreckage of the World Trade Center's Twin Towers, she films a pigeon on the sidewalk and then films the facial expressions of people as they return from the viewing platform. A fellow photographer breaks down in tears and tells her that he, too, needs to keep some distance from looking directly at the destruction. And thus it ends.

It was a moving film, funny at times, but more often sad. We don't reach a conclusion or a satisfying wrap up. Instead, we're left to make sense of the senselessness of the attack, just as we were in real life.