Maverick economist Steven Levitt presents many of his controversial thoughts and theories in the new documentary Freakonomics; none in which deal with the dramatic growth of the over-the-counter derivatives markets or other such economic issues that are incomprehensible to the average moviegoer. Instead Levitt uses his uncanny gift for data analysis to uncover the “hidden side of everything”. Does having the name Tyrone hinder you from finding a good paying job? Do real estate agents have your best interests in mind when selling your house? Levitt claims to have the answers to the queries and the evidence to back them up. According to him, the proof is in the numbers.
The fascinating film is an anthology of short subjects based on selected stories found in the best-selling books by Levitt and his collaborator, Stephen J. Dubner. Each segment is helmed by a different accomplished director, making this a sort of All-Star collection of non-fiction filmmakers. Contributors include Morgan Spurlock (Super Size Me), Rachel Grady (Jesus Camp), and Alex Gibney (Enron: The Smartest Guys in the Room and Casino Jack and the United States of Money) and each brings their own style and zeal to the material.
During its 90 minute running time, Freakonomics hits many high points that are, at the very least, thought provoking whether you find yourself agreeing or not. “It’s Not Always a Wonderful Life” draws a parallel between America’s decreasing crime rates and abortion in Romania (?) while “A Roshanda by Any Other Name” reveals the importance of identity imposed by your title. A standout section, “Pure Corruption,” examines Sumo wrestling match rigging in Japan and director Gibney is able to take us into a secret and guarded world of the ancient sport. What starts out as a mildly interesting story that comes as no real shock (who knew that wrestling could be fake?) develops into a startling murder mystery involving high stakes gambling and a societies deep seeded denial.
While the compilation style of the film is unavoidable, it hinders the material by never letting the entire work gel into one distinct piece. The result plays like a well-produced episode of 20/20 or Dateline that doesn’t feel like a movie. Levitt and Dubnar’s work is absorbing and the popularity surrounding the novels is well warranted. But what could have been a fantastic, short run series on any cable network has been forced into a format that doesn’t quite fit.
