Doin’ Time in Times Square is forty minutes of footage Ahearn shot out of his Times Square apartment building’s window. Shot over three years, Ahearn cuts the street scenes with home movie footage. Life inside the apartment. Ahearn’s adorable family growing, holidays, parties, sitcoms. Meanwhile, outside is urban blight.
Except it can’t all be urban blight. It’s not all urban blight when it starts. Before Ahearn establishes his editing pattern–adorable White family imprisoned in their apartment building, violent Black criminals outside–he’s got some great shots of just how people coexist in large numbers. Walking commuters flooding the sidewalks as they cross streets, spilling over. It’s amazing.
And then Ahearn starts cutting from his adorable son and lovely wife to Black people fighting. Then he cuts to adorable son and lovely wife and… Black people fighting. Maybe getting arrested. All Ahearn sees outside the window–until he gets to a municipal project and New Year’s Eve–is apparently scary Black people committing crimes.
Though he does catch footage of two cops harassing (and hitting) a Black teen while letting his two white friends off. There’s occasionally sound from the street, but it’s distant and muffled. There’s also occasionally sound from Ahearn as he watches, gasps and sighs. And telling his kid to stay away from the window.
But what Ahearn never shows is people like him. People like his family. There are no white families out on the street, even though someone in Ahearn’s household must have left at some point. I don’t think the second child was born inside the apartment, for example.
Ahearn never sees people. Sure, Doin’ Time is partially objective. What occurs is outside Ahearn’s creative control, but where he points the camera (and he does a great job shooting out his window) and especially how he edits is his control. Three years of footage and no interest in the mundane, only the “terrifying.”
Thousands of people appear in Doin’ Time and Ahearn manages to dehumanize every single one of them who isn’t inside his apartment.
Directed by Charlie Ahearn.