Oliver Sacks: His Own Life (2019)

Directed by: Ric Burns | 94 minutes | documentary, biography | Starring: Oliver Sacks, Roberto Calasso, Temple Grandin, Kate Edgar, Shane Fistell, Atul Gawande, Temple Grandin, Lowell Handler, Bill Hayes, Mark Homonoff, Anna Horovitz, Eric Kandel, Christof Koch, Robert Krulwich, Jonathan Miller, Rachel Miller, Isabelle Rapin, Jonathan Sacks, Anil Seth, Steve Silberman, Robert Silvers, Paul Theroux, Lawrence Weschler, Max Whitby

With great regularity, (auto-)biographical documentaries of famous world citizens are rolled out about us viewers. The first journalistic reflex is always: who is behind this, was it authorized? You go in rational mode, in contrast to regular film visits, where the undersigned prefers to be surprised as uninhibited as possible.

Such a critical attitude is certainly desirable when a neurologist like Oliver Sacks, whose life was closely intertwined with his work, is involved. Well, first the facts. ‘Oliver Sacks: His Own Life’ is from 2019 while Sacks passed away in 2015. Maker Ric Burns is an anthropologist with several TV documentaries to his name, including about the Civil War and the Mayflower Pilgrims.

OK then, we frown. The first tones and images give the impression of an ode to a man who does not necessarily evoke sympathy. Sacks’ nascent homosexuality is explained in little veiled language. It must have been no easy adolescence in 1950s England, and then his Jewish parents had fled the Nazis.

With all due respect, of course, but the deflation of Sacks – presented as a unique opportunity for a documentary filmmaker – is irritating. It is also not a unique story, because in 2015 a biography of the man, of ‘good friend’ Lawrence Wreschler, will be published. Back to the irritation: focus on person instead of work must have added value, and requires some distance and authorship from the maker.

Burns has the flamboyant Sacks parade gloriously past satisfied patients and fellow celebrities. The potentially moving and certainly interesting life story of Sacks is hidden behind vain undergrowth, although Burns gives the impression of neatly mowing. Conclusion: Sacks leaves the documentary maker with the image he wants to present of himself.