Lightdeossk Captivating movie !

Salubfoto It's an amazing and heartbreaking story.

Kirandeep Yoder The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

David Ferguson Greetings again from the darkness. A film about a guy with an aversion to wearing pants would not typically hold much appeal for me, but this is no typical documentary and Mayer Vishner is no typical subject. Co-directors Justin Schein and David Mehlman raise a couple of philosophical questions here: should a person have the right to take their own life, and what responsibility does a documentarian have towards their subject when faced with an ethical dilemma?Very few younger than 50 (maybe even 60) will recognize the name Mayer Vishner. He worked closely with those who founded the radical 1960's group called the Yippies (Youth International Party) – Abbie Hoffman, Paul Krassner, Jerry Rubin (also an early Apple investor and stockbroker), and musician Phil Ochs. A self-described Forrest Gump, Mayer states he helped them be "giants". The Yippies challenged authority and the system at every turn and were quite proud to create the label counter-culture.Five decades later, Mayer remains holed up in his same Greenwich Village apartment not far from MacDougal St and the Gaslight Café, where much of the Yippies action took place. The small apartment is in total disarray and Mayer now lives in squalor, getting through most days with absurd amounts of alcohol and pot, and apparently very little human interaction outside of director Schein's visits.It's here where things get fuzzy. Schein set out to make a film about a man who was right in the middle of one of the most tumultuous times in US history, but seemed to make the ultimate documentarian mistake of becoming too close … even friends … with his subject. It's this line-crossing that puts Schein in the cross-hairs of a moral dilemma when Mayer states, "If this film happens, it will be about a film about suicide". Should he keep filming? Should he get help for Mayer? Should he walk away from the project and let nature take its course? What follows is an up close and personal look at a man who is still very articulate, though suffering bouts of depression due to a life of loneliness and solitude. He sees no reason why he shouldn't be able to end his life on his own terms and in front of a camera. We also see Mayer's periodic surges of energy … whether it's the Occupy Wall Street movement (I've "been here before"), seeing his brothers, or a visit with Diane, his friend of 35 years who helps with therapeutic gardening. Of course, these surges are short-lived and each followed by a hard crash.Along the way, we see a video clip of 16 year old Mayer just beginning his lifelong journey of questioning authority. We also see the 3 pallets of memories being stored in a warehouse prior to being purchased by the University of Michigan, and we learn that Mayer was once the editor of "LA Weekly", though fired for his alcoholism.Mayer's own notes describe himself as an anarchist, pacifist, gardener, poet and dozens more. He clearly had a purpose in life and ultimately, in death. The film is tough to watch at times both because of Mayer's self-destructive mode, and for the interesting and debatable issues raised by continuing with filming. Perhaps the film will have you questioning your own beliefs, though the hope is you never find yourself in this situation with a friend. A well made documentary should educate and inspire discussion, and there's no shortage of either with this one.

jeff Mayer Vishner - chronic contrarian, man behind the scenes pulling the strings of the Yippie movement, and close friend and associate of Abby Hoffman - is the down and out subject of this documentary by filmmakers Justin Schein and David Mehlman. He's a 60's stalwart, tending a community garden and subsiding in his west village hovel amid decades of memorabilia and detritus, who agrees to have his life chronicled. Midway through the production though, Mayer decides the subject will be about ending his own life. He's an alcoholic, depressed, and lonely, but has passionate and poignant ideas for what a good life should be. His own outlook is bleak and joining the many colleagues who took their own lives seems an inevitability.Tension abounds as the filmmaker must step from behind the camera to increasingly care for Mayer and challenge his beliefs about his end. The film's sad arc is nevertheless well punctuated with ample hilarity and uplifting moments. Mayer is a genuine character bandying about witticisms both critical and self deprecating. His engagement with the camera and his cohort draws the viewer in, as does the film's pirouettes, challenging the conventional documentary format with unconventional features and quandary: Is the filmmaker directing the subject or is the subject coaxing the director to film him? What are the ethics of training a camera on an impending death? Is doc' film still doc' when the filmmaker becomes part of the story. How can an individual so perceptive about life's simple delights, remain so overly attuned to their impossible acquisition instead? Along the way the audience is treated to a healthy injection of fact-finding and history lesson, including run-ins with influential players of the 60's Anti-war movement. I attended a screening of Left on Purpose at the Doc NYC Festival with several of the film's protagonists and family and friends of Mayer Vishner in the audience. In the Q&A session that followed many contributed their own statements of overwhelming pride for Mayer's life and sublime gratitude for the sensitivity and grace with which the filmmakers told his story. This is a beautiful film about life, and lives, and peace and protest, and deserves to be enjoyed by all.

alexis-aurigemma Anyone who has had a grandparent or who has aging parents must watch this film. It's beautifully shot and despite the outcome, has many humorous moments along the way. It does a wonderful job of brining to light something that we as a society are only just starting to talk about: mental illness. But this film takes it a step further and discusses depression within the aging community. Mayer is a wonderful soul and it's a joy and an privilege to learn all the things he has done to try and better the world in the way of the Yippie movement and the counterculture. The relationship between filmmaker and his subject is also a fascinating part of the film that isn't seen much in documentary. The filmmaker is just as much of a character as Mayer in this film. It's about their relationship with one another and their friendship. I also just read online that the film just was released for educational distribution. I believe that's a wonderful outlet for this film in both the psychological sense as well as from a filmmakers perspective.

Dirk Johnston Saw this at DOC NYC last fall. Great documentary- the many ethical and academic questions raised through the shifting subject matter & relationship between director and subject when things take a darker & questionable turn are well explored and concisely addressed by the filmmaker. The subject matter & story are inherently very sad and moving, so don't watch if you aren't in the mood for such a film- but Vishner's quick and wry personality allows for some surprising moments of levity throughout. A good film to see for many of it's qualities, but possibly most of all for being a very well executed microcosm of many ethical issues that arise in the world of doc filmmaking, where anything of substance that strays too far from beyond being a vérité film in some respects is bound to cause some controversy in the academic world & beyond.