Mapping the Struggles of American Democracy Through Henry Fonda’s Professional Journey

      Henry Fonda for President presents American history through the intertwined lives of Henry Fonda: both as the famed actor and the genuine person behind the persona. This marks the directorial debut of Alexander Horwath, who at 61 has spent years as a critic and programmer at the Austrian Film Museum, reflecting a lifetime filled with a love for cinema and hard work. Horwath’s exploration of Fonda’s films originated from a visit to Paris in 1980. In Fonda, he discovers a defensible representation of the U.S., noting that James Baldwin referred to Fonda as the only white actor he admired. The film juxtaposes Fonda’s image against the emergence of Ronald Reagan, utilizing a montage of movie excerpts, original footage recorded in the U.S. by the film's team, and audio snippets from a comprehensive 1981 interview with Fonda.

      This ambitious three-hour film employs cinema as a tool to critique itself and the broader world, reminiscent of Thom Andersen’s Los Angeles Plays Itself. Horwath revisits the concept of chiaroscuro as a significant trait of Fonda, showcasing clips where part of his face is obscured. This approach transcends simplistic black-and-white thinking, allowing for nuance and humility. The film portrays America as thoroughly mediated, featuring figures like John Hinckley Jr. (currently active in folk music on YouTube) alongside the fictional TV character Maude, leading to the question of whether it matters that one is real and the other not. Ultimately, Henry Fonda for President maintains an appreciation for the potential America could have offered, while simultaneously highlighting the country’s many shortcomings. Fonda’s own doubts and feelings of being an imposter allow for a glimpse into the reality beyond the American imagery.

      Before the New York premiere of Henry Fonda for President at MoMA’s Doc Fortnight, The Film Stage interviewed Horwath via Zoom from his home in Vienna. The film is set to open at Anthology Film Archives on Thursday, April 3, with plans for further expansion.

      The Film Stage: Austria has a tradition of creating films in response to Hollywood, from Funny Games to the works of Martin Arnold and Peter Tscherkassky. Do you see Henry Fonda for President as part of that tradition?

      Alexander Horwath: I haven't approached it that way, but I agree with the existence of that tradition. It spans a broad spectrum from Haneke to experimental films, yet our film isn’t closely aligned with either. On a larger scale, cinema from smaller nations often positions itself in relation to Hollywood. This tendency isn’t exclusive to Austria; any pursuit of independent cinema often stands in contrast to Hollywood, which has long dominated screens in the West. Any art film is required to engage with this prevailing presence, applicable to both Haneke and experimental filmmakers.

      In our case, we’re not trying to distance ourselves from Hollywood but rather to engage with it in a particular way. My interest in American cinema dates back quite a while. Like many European cinephiles, I've been influenced by the prominence of American culture in our dialogues. It is an attempt to connect with that legacy, though not a rupture. The film addresses the heritage of American cinema while clarifying that it originates from outside the U.S., which is why it lacks an English-speaking version. I’ve been asked whether there would be an English voice-over, but I never intended for that, emphasizing the importance of the German language. Additionally, this was a reason for including audio quotes from Hannah Arendt and Günther Anders, among others.

      There seems to be a deliberate distance in how you filmed America; there are no interviews with Americans, and long shots capture roadsides. Was that also a way to establish your distinction?

      I made specific preliminary decisions, such as avoiding talking-head interviews. The three of us––Michael Palm, Regina Schlagnitweit, and myself––spent several years creating this film. It wouldn’t include direct conversations, even though we engaged with many people during our trips to America. We were clear that those interactions were for our own insights and wouldn’t be part of the film. Furthermore, the selection of locations was closely tied to Fonda’s biography and the lives of his on-screen characters. We focused on many sites in the Midwest. Our portrayal of those locations draws from an American tradition, though not from Hollywood. It aligns more with avant-garde and essay-film traditions—think Thom Andersen, John Gianvito, and James Benning, for instance. While we didn’t consciously decide to follow this route, our choices about how to represent these landscapes were greatly influenced by that tradition. This influence isn’t solely American; you can also reference films by Chantal Akerman.

      Were there other actors you considered for a film like this?

      Firstly, I should mention that I hadn’t intended to become a filmmaker when I left the Austrian Film Museum after 16 intense years. I was open to whatever opportunities arose.