Sketches of Frank Gehry

Even non-members of the Architectural community have heard of Frank Gehry. It is precisely because Gehry is such a “crossover-star”, if we can put it that way, that this “debut biopic” by late director, and star in his own right, Sydney Pollack to achieve mainstream success. Public curiosity in Gehry informs Pollack's initial statement of intent, which is to find out “what’s the big deal about Frank Gehry”, and explain this in lay-terms for a general audience of non-specialists, of which he is one.

Gehry (ne Goldberg) was born in Canada of working class parents, it would appear. He has literally made it onto the L.A. map (his house is on the tourist trail) where he has lived and worked for several decades. The impression we get is that the early workings of his style, described by some as architectural "neo-cubism”, earned him a reputation that has grown to an extent that cities around the world are or would like to be graced by his designs. The most famous instance referred to here on multiple occasions is the Bilbao Guggenheim. Innovative use of novel building materials, an artistic eye and groundbreaking design software are major planks in his success. Underpinning and driving this is a burning ambition (which, he volunteers, gives the lie to the “gee shucks” image that he projects).

This documentary could be likened to the old allegory about perception from multiple perspectives, where blindfolded individuals try to identify an elephant. An obvious difference is that the putative elephant (Gehry!) can express his own opinion about what makes him tick. Certain themes recur during the conversations with Pollack’s interviewees. On the balance of this evidence, my own opinion, for what it’s worth, is that Gehry is more naturally inclined to the ethereal than the practical, and is an innovator and ambitious perfectionist.

Not enough treatment is given to the inner workings of Gehry’s buildings. The brief suggestions of blueprints, air vents and restrooms are outweighed by the numerous occasions on which we are shown Gehry and his team worrying about a building's exterior image. This shortcoming perhaps stems from the fact that Pollack is, in his own words, “architecturally illiterate”. I think it’s telling that in interviews with Gehry, post-documentary, that feature on the DVD’s bonus features, he makes the point that a buildings interior matters as much, if not more, than the exterior. It’s as though he has made the same observation after watching Pollack's film (which he claims to have done several times).

The DVD plus bonus features is a good package. The film features a great bespoke score, and Gehry and Pollack are old friends and so we have a sense of priviliged access to Gehry, who is an inspiring individual and generous in his insights gained from experience. The bonus features include interviews, video studies of some of Gehry’s designs, not to mention slideshows of the purest form of Gehry’s ideas, his lightning sketches.

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