Visions of Eight
| Visions of Eight | |
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Film poster
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| Directed by |
Miloš Forman Claude Lelouch Yuri Ozerov Mai Zetterling Kon Ichikawa John Schlesinger Arthur Penn Michael Pfleghar |
| Produced by |
Stan Margulies David L. Wolper |
| Written by |
David Hughes Deliara Ozerowa Shuntaro Tanikawa |
| Music by | Henry Mancini |
| Cinematography | Arthur Wooster Alan Hume Daniel Bocly Michael J. Davis Rune Ericson Walter Lassally Jorgen Persson Igor Slabnevich Ernst Wild Masuo Yamaguchi |
| Edited by |
Dede Allen Catherine Bernard Jim Clark Lars Hagstrom Edward Roberts Margot von Schlieffen |
| Distributed by | Cinema 5 |
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Release date
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Running time
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110 minutes |
| Country | United States |
| Language | English |
Visions of Eight is a 1973 American documentary film, produced by David L. Wolper and Stan Margulies, offering a stylized look at the 1972 Summer Olympics, directed by eight different directors. It was screened at the 1973 Cannes Film Festival, but wasn't entered into the main competition. It was later shown as part of the Cannes Classics section of the 2013 Cannes Film Festival. Some visuals of the Munich stadium from the documentary were used in Without Limits.
Wolper asked eight directors to select their own crews and create a segment which would capture some aspect of the Munich Games.
Alan Hume shot the segment The Fastest for director Kon Ichikawa. Arthur Wooster shot The Longest for director John Schlesinger, and Walter Lassally directed the photography for Arthur Penn's segment The Highest.
Visions of Eight won the best documentary award at the Golden Globe Awards, held in 1974 for films which were released in 1973.
Peter Rainer of Bloomberg News Service noted that only Schlesinger bothered to be aware of the terrorist tragedy at the Munich Games. "Schlesinger’s is the only segment that fully acknowledges the Black September terrorist attacks, in which 11 Israeli athletes and coaches, and a West German policeman, were murdered."
Rainer continues, "Penn’s entry begins daringly. Not only is the imagery a slo-mo crawl, it’s also out of focus and the soundtrack is silent. Gradually the visuals sharpen, the stadium sounds come up, but, for the most part, the pole vaulters rising into the sky remain superslow abstractions. Along with his great editor Dede Allen, who cut Bonnie and Clyde, Penn anatomizes the action without ever losing sight of the fact that these athletes, including USA’s Bob Seagren, are men and not gods (as Riefenstahl might have us believe)" — referring to Leni Riefenstahl's 1938 documentary Olympia.
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