Beguiling 3 minute short film that consists simply of an extended pan past a wooden fence with flowers growing over it, ending with a tilt up into a blue sky as a scratchy recording of Ella Fitzgerald singing 'All My Life' plays over.It manages to be funny and a little sad, as the shoddy fence seems to say something about the poverty of the human world we're looking at, but the flowers and the tilt to the sky give some sort of hope. Baillie was a favorite director of Martin Scorsese's and I could see why from this short. Easy to see at video sites on the web. A quick Google will lead you there. And worth it

Well, this is a rather lovely fence. In all seriousness, the up-and-down spokes, the broken parts, and the roses do make a nice little allegory for a life--good parts and bad parts, uneven but regular in its own way, ascension afterwards, the movie ends just short of being pure blue sky (there's still a little power line on the right. Human technological evidence, yet very natural. A lot of rising hope in the end.The song by Ella Fitzgerald is beautiful, but that should come as no surprise because it's Ella Fitzgerald. The rhythmic winding of the fence is a good simple match to the beat of the song, which is nice considering we're used to music videos that take a lot of time editing together imagery that matches the beat, but here something found like a fence in Anywhere, USA does all the rhythmic work on its own. This movie is also definitely one of the more pleasant experimental films to be made as many experimental films set to task to put the viewer out of the comfort zone rather than creating something quite so poetic or elegiac.--PolarisDiB

And it's one of the most intense, compacted moments of joy in the cinema. I must have watched this minimalist music video-- Teddy Wilson's orchestra with the young Ella Fitzgerald delivering a ballroom swing number of the late 1930s, scratchily recorded-- fifty times... and never failed to be uplifted, and never known quite why.It's a continuous take, panning west, of a broken-down old clifftop fence-cum-hedge, sometimes floral, sometimes bare. At the end (as the vocal refrain ends and the orchestra slides into the final recapitulatory chorus) the camera eye soars calmly up into the wide blue yonder, crossing a telephone wire, and fades. And that's it.Sheer magic, a visual haiku. One hates to be at a loss for critical words, but 'All My Life' defies them. Just see it.

After accidently stumbling across the entry for Bruce Baillie's marvellous ALL MY LIFE, I was amazed to see that it had yet to receive even five votes. Well, not amazed exactly -- it is after all a three minute long avant-garde movie set to the Ella Fitzgerald song ALL MY LIFE -- but a little disappointed nonetheless. For those of you who haven't read the plot summary (so to speak), ALL MY LIFE is a movie about a fence. A three minute pan left of a fence. To spice things up, there are even a few rose bushes and a final tilt up to the sky as the song comes to an end.But why is this movie so good? I think one reason is perhaps the calmness that comes from its minimalism. It was made in the mid-sixties at a time when the American avant-garde movement was really booming: Andy Warhol, Stan Brakhage, et al. That was also a boom period for the drug scene (just listen to The Beatles!), and you can see a definite shift toward psychedelia and sensory overload. Even Warhol, for all his banality, was still in yer face. ALL MY LIFE, with its pared down mise-en-scene and music track that recalls an earlier era, seems to play in the other direction. An analogy might be the Talking Heads movie STOP MAKING SENSE, which adopted a very classical style in favour of the rock razzledazzle and MTV aesthetic that one associates with the mid-1980s.But ALL MY LIFE is deceptively simple and unassuming. There isn't room to do it justice here, but the implications of the pan left or the tilt to the sky seem quite profound -- even transcendental, as we observe the seemly banal and look up towards the heavens. It also quite simply reminds you that there's more to cinema than hyperfast cutting (stand up Mr Michael Bay) or supposedly breathtaking special effects (Mr Lucas). And, hey, if Bruce Baillie can do it with a fence, why can't you?!