I enjoy all of Ken Burns’ documentary series, and I am grateful for them. They do a better job of teaching history than the schools, and they are always thought-provoking and, of course, beautifully executed. At the same time, I am aware of the limitations in Burns’ approach, beginning with his genre. Documentaries are inherently misleading works, more misleading in the hands of some, like Michael More, than others. The sifting of which material to use, how to balance issues, choices of photographs and film footage and even the inflections of voice betrayed by narrators (To his credit, Burns has all of his narrators deliver their script in the exact same measured and deliberately-paced tones; I found myself wondering how many times Burns forced “Prohibition” narrator Peter Coyote to listen to previous Burns stand-ins David McCullough and John Chancellor in “The Civil War” and “Baseball” until he sounded as much like their clone as they sounded like identical twins) unavoidably slant the final product, sometimes unintentionally, but usually with a motive. To the extent that viewers realize this, it is an ethical medium, but for most, especially those unfamiliar with the subject matter and with no independent knowledge to draw on, it is not.“Prohibition,” Burns’ latest PBS series that debuted last week, has a more obtrusive agenda supported with more dubious logic than his previous documentaries, reminding me, at least, that his historical conclusions should always be taken with a measure of skepticism. Continue reading →