Luke documentary

In the beginning of 1998, it became clear to me that Frank Luke, JR’s story was great material for a television documentary. Having one PBS documentary to my credit, (Fallen Fortress at Cape Lookout, 1993) and more than a decade of TV news experience, I decided to pursue the idea, and spent the next year conducting research.

There are many things to determine in such a project. In the end, we concluded that the story was entirely suitable as an hour-long documentary.

I submit this at this time... for the sake of clarity. I frequently see inquiries about the movie on Luke. I also hope that people have an interest in seeing a factually based, historical documentary.

I may have not have it right, but my observation over the years is that there are very few people in the industry, with certain exceptions, who care about this type of historical saga. What may interest vast amounts of people, doesn't necessarily appeal to the people executing decisions.

As sad as that may be, it is something we all must face up to. I know that in the ranks of news, interest in history is typically low. (Especially on the West Coast) I have always been the exception to the rule, and it is often hard to sell to producers.

Obviously, there are channels that are very suitable for this type of programming, though I don't believe they air movies very often.

My commitment behind this project is strong. I traveled to Murvaux for the re-dedication ceremony last month, meeting Stephen Skinner for the first time. In fact, we met in the field where Luke made his final landing. That material, as well as interviews with Murvaux residents, is all on tape.

In the course of the project, I have spent time with the Luke family, conducting what turned out to be priceless interviews. and I have traveled to many relevant locations around Phoenix, including Luke AFB, gathering information, and interviewing family members and others related to the story.

It is time to move forward. I now have too much invested in fact, for it to not be an active subject in the ranks of enthusiasts.

I welcome any ideas and look forward to hearing those rare tidbits that sometimes manifest in the face of a serious project. A number of Great War aviation experts and historians have been working with me for some time. My goal prior to going public was to gather enough data, both on and off tape, to secure our position. My associates and I have indeed, reached that point.

The documentary will present the facts on Luke, as we know them. It will take into account the different theories and views regarding his life, his combat accomplishments, Luke's rejection by his peers, the loss of Joseph Wehner, his relationship with Hartney, and the final day in Murvaux. The documentary will not be a forum for any singular viewpoint. Instead, we will present the contrasting views, with respect to the Murvaux affidavit and Royal Frye's 1962 visit.
My Organization is called Learning Through Aviation History.

[Barrett]

Tim:

On your next trip to Phoenix you might check the Champlin Fighter Museum in Mesa. Apart from a full-scale reproduction (not replica) SPAD XIII in FL's markings, there are Luke and Wehner artifacts including correspondence.
Having become acquainted with Stephen, I know that anything he undertakes will be accurate. It's a rarity in film documentaries (ref. almost anything on The History Channel) because the producers feel that (1) "Hardly anybody knows" and (2) "Nobody cares." My one message to THC noting (among other things) that neither the British Navy, the Japanese Army, nor German Air Force participated in the Battle of the Coral Sea received a form reply: "We are pleased that you enjoy our programming."
Long sermon short: keep your dedication to accuracy and let your innovation fill in the gaps!
Very best of luck.

I agree that historical accuracy is the lifeblood of a documentary -- the "document" part of the name becomes a joke past a certain short threshold of sloppiness and/or intentional inaccuracy. The trouble ensues from the rules of engaging a mass audience and retaining control of their attention and interest. Even a documentary must follow an intriguing "bait-and-switch" flow of information to keep it's audience. Even the most austere historian must recognize that "history" without "story" just says "hi." Facts on facts we can find in a book; the visual/oral nature of film & television demands a story structure to retain an audience, and the sheer cost of production demands a concern to retain that audience.

In documentary at its best, the documentarist evokes the story within the material, arranging the elements in the most dramatic and least confusing manner, heightening both drama and "Truth." This is probably the visual historian's hardest task; therefore, it's often the value that suffers the most in shoestring/careless productions. If the material needs to be more dramatic or poignant to satisfy "story," rather than returning to the text to restructure true elements, false or crooked elements may be glued on to ensure a cliff-hanger commercial break. A lot of "How" and "Why" falls victim in the more suspect documentaries in favor of "Drama, Blood, Tears & Laughter." An expert historical storyteller works harder at preserving truth, resisting the temptation of the easy fix.

It is much debated how accurate a fictional adaptation of a historical event or issue must be to earn the "based on a true story" claims. Screenwriting guru Robert McKee makes the distinction in his handbook, _Story_, between "truth" and "Truth-with-a-capital-T." A factual, accurate depiction of daily occurences is truth, but with a small "t." When a storyteller finds that element within the daily occurences that makes the listener say, "Ah, that's the way life works," that is finding the greater "Truth." Finding that "Truth" in a historical occurence and fictionalizing scenarios to evoke that realization in the audience, in McKee's esteemed opinion, justifies those fictional liberties.

I agree. Many of the scenes in _Schindler's List_, especially those in private conversations, are not born on historical proof. Yet the writer delved into the historical evidence of Schindler, found what he felt was the "Truth" he wanted the film to convey, and dramatized "history" to fulfill it. Did he add or subtract events to fulfill plot demands and time constraints? Sure. Did he rearrange, omit, or invent incidents to clarify Schindler's character arc? Most probably. Would that "Truth" be difficult to evoke without the license to invent or speculate "historical" events? Absolutely.

Most importantly, fiction packages history into a tasty morsel, palatable to a wide audience. Once they have sampled history, a significant percentage will further their own education and delve into the historical accounts available to all of us.

Though not given the creative allowance of fictional drama, I would suggest that a documentarist must still follow story principles the audience expects and focus on evoking "Truths" that we can learn from. (That's what history's for, isn't it?)

Sorry for the diatribe; sometimes I get excited and write the thesis I never had to write.

I remain,
RayK

Tim,

When can we expect to see your documentary?

Billy Haiber's presentation of Luke's relationship with the US balloon personnel in 'FLTSR' shows FL to be a thinker and planner in addition to being one fearless SOB. While Luke's fearlessness is among his finest qualities, it is also what got him killed. Concerning the shootout, go with the 1919 testimonies!

A film documentary often fails to drive home the importance of certain acts of heroism. In the late 1930's, our postman told me that he was a sgt. in the army and witnessed Luke's last acts of flaming balloons. I asked him the significance of shooting down balloons, as opposed to shooting down Fokkers. He told me that the observers in a drachen could direct artillery shells right into a dugout, and that Luke's act of heroism most probably saved his life and the lives of many others in his company, because of the loss of German aerial observation.
I would hope that this will be made abundantly clear to viewers who have no idea of the impact and importance of aerial observation and the relief of ground troops when this was denied to the Germans.

[stephen]

Tim has already done more than any other American TV crew that I'm aware of... he actually went there to do his shooting instead of taking the easy way out and restricting his efforts to maps and b/w photos. That, I think, is indicative of his resolution on the project. I have no idea what his timetable is, but I bet it will be worth the wait. He's doing his homework. I hope Tim doesn't kill me for saying this, but I would also lay money that you'll see never-before-published FL photos in the doc.

Is everyone here aware that Tim's doc is NOT the same animal as the feature film that was discussed here by Mutley a year or so ago?

I appreciate the feedback and words of support. The timeline for the completion of the Luke documentary is still undefined. As is often the case with projects like this, I am still in the process of securing the necessary funds.

If the project reaches completion according to the original plan, then it will be a visual masterpiece.
The concept of the documentary, according to the original treatment, involves elements rarely seen in other programs. I could go on for a long time, but one essential part involved reenactment sequences with 1/3rd scale model aircraft, transmitting live video to the ground. Our Graphic Artist can create the burning Drachen. Everything else in the frame would be an actual image, shot in France at the actual location. Ideally, we would record these images at the correct time of year to reflect Lt. Luke's timeframe. Plans also call for shooting approximately half of the project on film.

If we change course, eliminating many of those ideas, we can dramatically reduce the budget and still produce a wonderful program. We will at any rate, offer a good visual description of the places that relate to the Luke story.

The good news in relation to all of this is that our demo tape is close to completion. That is the key element for moving this project along. We are hearing positive things from different sources and we know that the money, and therefore the project, will become a reality.

I believe this can be produced in a way that is compelling and factual, without delving too far into speculation. Frank Luke, Jr. was a fascinating person. He left behind a great story. I have read more than one account of the difference that the balloon raids made for the doughboys in the trenches. Frank Luke's sister-in-law Maxwell placed great emphasis on this when I interviewed her for the documentary. She remembers the Great War with a keen sense.

Updates will be forthcoming. Again, thanks for the encouragement and support. Stephen, thanks for your words, I appreciate it!

John L: I would appreciate it very much if you would wvrrite me a short letter about that postman-sergeant and his statements about the real value of Luke's demolition of the German balloon line in the Meuse-Argonne offensive. In September Rampage, I came to the same conclusion, in no uncertain terms. Destroying those balloons was as obsession with Luke because he knew beyond a doubt that those three balloons around Murvaux enfiladed the American right flank, and that German observers could direct both mortar and artillery into the backs of doughboys trying to advance up the west side of the Meuse river.
I also write a small section about the German balloon line and a certain Leutnant Rieper who was so good at artillery direction that he was given the Pour le Merite. He ran the ballloon line and was Luke's nemesis.
What I am driving at is that there is no reason to insert disinformation about Luke for the sake of promoting 'dramatic interest.' Outside of fabricating plausible events to fill gaps in the historical record (such as the 'shoot out at the Milly creek') historical accuracy is not betrayed, in a documetary, if the narrator specifies this speculation.
My home address: 32 Reilly Road, Lagrangeville, NY 12540.
VBRs Billy H. 12/20/00