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Ass-covering and denial in New Orleans
THE BIG UNEASY :
Written and directed
by Harry Shearer. Cinematography, Arlene Nelson.
Editor, Tom Roche. With Robert Bea, Ivor van
Heerden and Maria Garzino. 2010. 98 minutes.
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H
arry Shearer’s The Big Uneasy
is not, the fi lmmaker would
like you to know, “a ‘Katrina
documentary.’” Hard words to avoid when
you’re discussing what happened in New
Orleans in August of 2005, but Shearer
has a point: The Big Uneasy isn’t about
the people, or the fl eeing, or the FEMA
trailers, or the rebuilding. Instead, it takes
on the Army Corps of Engineers, making
the case that much of the Katrina-related
devastation could have been avoided were
the city not at the mercy of a deeply fl awed,
insuffi cient protection system.
Shearer’s fi lm takes some time to fi nd
its feet, weaving fi rst through a dizzying
series of Mardi Gras images and skipping
through a handful of talking heads before
settling on three central fi gures: UC
Berkeley professor Robert Bea, a former
employee of the Corps, who co-led an
investigation of the levee failures; former
Louisiana State University Hurricane
Center deputy director Ivor van Heerden;
and Maria Garzino, a Corps engineer who
investigated the water pump system put in
place after Katrina and found it defective.
The Big Uneasy contains a wealth of
information pulled from news broadcasts,
newspaper articles and the report Bea and
his colleague Raymond Seed wrote after
their investigation, as well as talking-
head testimony from Corps employees,
journalists and others. From time to
time, Shearer veers off into “Ask a New
Orleanian” segments introduced by a
slightly crazed John Goodman. The
bitterness and frustration hiding under the
polite, technically focused surface of the
fi lm seeps through in Goodman’s tone and
in the tight, practiced answers given by
the residents Shearer assembles to take on
typical questions: Why does the city stay
there? Aren’t people just sitting around
waiting for handouts?
Using the experience of Bea, van
Heerden and Garzino, Shearer builds a
quietly damning case against the Corps,
uncovering a culture of ass-covering and
equivocation that puts too much value on
easy solutions, even when such solutions
are nothing but a Band-Aid over a gushing
wound. In a disturbing segment, Shearer
reveals that a contractor took the Corps to
court over fl awed plans — but lost, and was
required to build the way the Corps directed.
Bea and van Heerden’s fi ndings detail
weaknesses in the systems that existed before
Katrina; Garzino’s unheeded warnings about
the water pump system put in place after
the hurricane suggest that there’s still little
interest in getting it right. From time to time,
a voice sympathetic to the Corps appears
— one man says there are too few actual
engineers in the Army Corps of Engineers
these days — but whenever the Corps has a
chance to speak for itself, it’s in a stubborn,
bureaucratic tone that says nothing is wrong.
It was just too strong, that hurricane.
In his fi lmmaker’s statement, Shearer
writes, “Media coverage of tragedies can
become so pervasive that we no longer
remember the tragedy anymore, we only
remember the coverage.” The Big Uneasy
attempts, with moderate success, to return
to the tragedy, and to shift the accepted
narrative about what really happened in
New Orleans. Certain directorial choices
weaken Shearer’s message: the decision
to use section headings is more confusing
than clarifying, and editing blunts some of
Garzino’s most pointed commentary. But
if the fi lmmaking often feels unpolished,
the story, as Shearer has pieced it together,
has undeniable weight.
ew
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