Tony Kaye (“American History X”) began making the abortion documentary “Lake of Fire” 15 years ago, and he says he’s still not finished, even though it arrives in theaters today.
Kaye also says he doesn’t particularly care whether people actually see his movie, which, given the subject matter and the 2 1/2-hour running time, might be the pragmatic position to take.
Certainly, “Lake of Fire” demands to be seen. It’s an upsetting film, certainly, as it shows graphic footage of three abortions.
It’s also a frustrating film, because Kaye wastes a lot of time focusing on squawking religious-right types whose nutty views add little to the rational debate and whose inclusion broadly paints the pro- life movement as a bunch of extremist bent on murder.
Case in point: More than two hours into the movie, Kaye is still giving us Frank Westin, who talks of abortion doctors throwing fetuses on the barbecue as part of some kind of ritualistic satanic cookout.
Coming as it does after detailed interviews with people who have either murdered abortion doctors or condoned such action, Kaye’s obsession with anti-abortion fringe-
dwellers is exasperating. Yes, these people exist. No, these cartoon characters do not reflect the mind-set of most pro-lifers, though some in the abortion-rights camp would (and do) argue otherwise.
Kaye does present thoughtful, intelligent and passionate arguments from both sides of the debate, including Noam Chomsky and Alan Dershowitz, as well as Village Voice writer and jazz critic Nat Hentoff, who, by extending his anti-abortion beliefs to the death penalty and social justice, provides the movie with its most consistent voice.
Kaye shot “Lake of Fire” in 35mm black and white, supposedly to emphasize the issue’s gray areas. More likely, the choice was another pragmatic one, as the bloody footage of the filmed abortions would have cleared theaters.
Give Kaye credit for including them in the first place. When a doctor pieces together what he calls the “fragments” from an aborted fetus, holding up a perfectly formed hand and foot and head, Kaye presents the images unflinchingly, challenging his audience to consider what abortion really means.
Kaye follows an emotionally and physically battered 28- year-old woman through an abortion, beginning with counseling and ending with her crying, leaving the facility.
“I know I made the right decision, but it’s still not easy,” she tells Kaye.
Kaye shot this footage in 1996. Why not film a follow- up interview? Listening to this woman’s perspective 10 years down the road would have been more illuminating than the bluster of Westin and his ilk.
Much of “Lake of Fire” seems stuck in the past. Courts and lawmakers continue to wrestle with the issue. Kaye obviously does, too. Maybe that’s what he means about still not being finished with his film.
