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Voyeur (2017)

TV-MA | | Documentary | 1 December 2017 (USA)
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2:17 | Trailer
Journalism icon Gay Talese reports on Gerald Foos, the owner of a Colorado motel, who allegedly secretly watched his guests with the aid of specially designed ceiling vents, peering down from an "observation platform" he built in the motel's attic.

Directors:

Myles Kane, Josh Koury

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Cast

Credited cast:
Gay Talese ... Himself
Gerald Foos ... Himself
Morgan Entrekin ... Himself - Publisher, Grove / Atlantic
Anita Foos ... Herself
Susan Morrison ... Herself - Articles Editor, The New Yorker
Jamison Stoltz ... Himself - Senior Editor, Grove / Atlantic
Nan Talese ... Herself
Pamela Talese ... Herself
Rest of cast listed alphabetically:
Edward Akrout ... Hotel Guest
Edward Sabol ... Hero Talent
Sacha Storto ... Model
Shelby Welinder ... Hotel Guest
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Storyline

Journalism icon Gay Talese reports on Gerald Foos, the owner of a Colorado motel, who allegedly secretly watched his guests with the aid of specially designed ceiling vents, peering down from an "observation platform" he built in the motel's attic.

Plot Summary | Add Synopsis

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What Will You Watch Tonight?

Genres:

Documentary

Certificate:

TV-MA | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

1 December 2017 (USA) See more »

Also Known As:

Voyeur See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

1.78 : 1
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Connections

Features Donahue (1967) See more »

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User Reviews

 
watching and watched
30 November 2017 | by ferguson-6See all my reviews

Greetings again from the darkness. We are watching the final product of filmmakers watching a reporter watching a man whose hobby is watching those who don't know they are being watched. Lacking a single redeeming individual, the film's creep factor slithers towards 11 on the (SPINAL TAP) scale.

It's understandable if you assume this is the story of a pathetic and disgusting Aurora, Colorado motel owner who, for many years, quietly leered at his guests from a self-constructed perch in the attic. Gerald Foos methodically documented the sexual actions of the Manor House Motel guests, which numbered 2000-3000 per year. If his actions aren't remarkable (not in a good way) enough, Mr. Foos actually married not one, but two women who were complicit in his hobby.

In 1980, renowned reporter and author ("from age 15 to 80") Gay Talese received a letter from Gerald Foos, kicking off a three decade relationship culminating in a controversial feature article in "The New Yorker" and a book entitled "The Voyeur's Motel". Once Mr. Foos agrees to have his name published, co-directors Myles Kane and Josh Koury jump on board to document the final steps in Mr. Talese's writing and research process. It's here that we enter the oddest man cave you'll likely see. In the basement of Talese's immaculate Manhattan brownstone is not just his writing office, but also a lifetime of research and writing … boxes and shelves of material that will surely one day be part of a museum or university collection.

The unexpected parallels between writer and subject are made clear. Both are voyeurs and both are collectors. As a journalist, Talese observes the actions of people, while Foos is quite obviously the definition of a Peeping Tom. Talese collects the years of research for his writings, while Foos shows off his extraordinary sports memorabilia collection (also in his basement). Beyond these similarities, what stands out most are the unbridled egos of these two men. Both seemed most focused on getting or keeping their names and stories in the headlines. Of course, Talese has built a career on his name and reputation, while the aging Foos simply sees this as his legacy that somehow deserves historical prominence.

The filmmakers remain more focused on Talese than Foos, and that takes us inside "The New Yorker" where the editors are justifiably concerned about a single-source story – one that without Talese's name attached would likely have never made it past an initial perusal. The aftermath of publication reminds us that we've seen con men before, and there is little joy in being taken on a long ride of deceit. Perhaps the best description of what we see on screen is that it's a sideshow of ego and the need to be seen (watched).


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