What sets a documentary apart from a docudrama, and is truth a requirement for either?

The recent controversy involving former members of President Clinton's administration over ABC's docudrama "The Path to 9/11" (airing on September 10 and 11) has reignited debates about truth in film and television. The difference between a docudrama and a documentary is straightforward. A documentary is a non-fiction film that recounts, analyzes, or re-enacts historical events, maintaining strict factual accuracy even when expressing opinions. In contrast, a docudrama, though rooted in historical events, is primarily a dramatic narrative. It doesn't need to be entirely factual and often takes creative liberties to enhance the story's appeal. Essentially, a docudrama is a fictional tale set against a backdrop of real historical events.

What's the issue with "The Path to 9/11"? Critics, including former Clinton administration officials, are concerned on several fronts. One major point of contention revolves around the perception of truthfulness and the potential for defamation. While docudramas aren't required to be factual, presenting them as fact-based, as ABC has done, can lead to issues when key events are fabricated. For instance, a scene allegedly shows Richard Clarke, a Clinton security advisor, blocking a CIA operation to assassinate Osama bin Laden due to political concerns during the Monica Lewinsky scandal. Both Clinton and Clarke deny this ever happened. Although such scenes heighten drama, they risk misrepresenting real individuals and events. If viewers believe these fictionalized moments are true, ABC could face accusations of character defamation, especially when the film claims to be rooted in historical facts.

This raises another concern about the film: Given the profound sensitivity surrounding the events of September 11, fictionalizing the circumstances leading up to that day may be seen as irresponsible broadcasting unless the line between fact and fiction is clearly drawn. In ABC's production, this distinction is absent. While there are no formal rules for docudramas, many argue that blending fact with fiction when portraying such pivotal and traumatic events is highly irresponsible.

The debate over filmmakers' responsibility to separate fact from fiction has also cast a spotlight on documentary filmmaking itself. By definition, documentaries must be non-fiction. While they can include commentary and opinions, misrepresentation is strictly off-limits. Over the past 15 years, starting with the unexpected success of Michael Moore's "Roger and Me" in 1989, the genre has evolved. Some filmmakers now prioritize commercial success, and others have been accused of fictionalizing their work through misrepresentation or omission. Moore's 2002 documentary "Bowling for Columbine" has faced significant criticism in this regard. One particularly contentious scene involves Charleton Heston's speech at an NRA meeting in Denver, Colorado, just 11 days after the Columbine High School tragedy. Critics argue that Moore's editing of the speech altered its tone and meaning.

Critics of Moore's editing argue that his manipulation of Heston's speech—including the insertion of a clip from a separate speech in North Carolina—created a tone that appeared insensitive to the recent tragedy. The original transcript, however, shows no such disrespect. The issue lies not in the act of editing itself but in how the edits omitted crucial statements and rearranged segments, distorting the speech's true intent and content.

While some filmmakers and critics decry what they see as the degradation of the documentary genre, others argue that capturing "truth" on film is inherently subjective. Filming from a specific angle inherently introduces a perspective, and even traditional documentaries that present both sides of an issue must choose which facts to include or exclude. Some contend that no film can be entirely "true" or "factual." However, there is a distinction between omitting details for brevity or clarity and deliberately misleading the audience. A documentary that employs deception or misrepresentation, they argue, ceases to be a documentary.

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