Documentary Site started as an outlet for my interests in documentary 15 years ago. Since then, my presence has expanded to writing, managing Twitter fans, and connecting with makers, promoters, and fans of documentary. Probably three of the coolest things to come from this endeavor are being invited to write for POV, visiting Kartemquin studios, and leading a discussion after a screening of The Trials of Muhammad Ali. My current project involves watching and writing about 365 documentaries in 2014. Feel free to send along your suggestions via Twitter @documentarysite!

#365Docs: Dear Mr. Watterson (38/365)

by |

I’m watching 365 documentaries and writing about each one in 2014. Tweet your suggestions to @documentarysite, or send an e-mail to Read more.

Note: This post contains spoilers.

As a fan of Calvin and Hobbes, I anticipated watching Dear Mr. Watterson (2013) for several reasons: to learn more about the strip, to learn more about comics overall, and, mostly, to hear something from Mr. Watterson himself.

Well, two out of three ain’t bad.

Dear Mr. Watterson is one fan’s exploration of the phenomenon that is Calvin and Hobbes, a syndicated comic strip about a boy and his stuffed tiger that ran from 1985 to 1995. Calvin sees Hobbes as a real tiger, and the two engage in imaginary adventures and share deep observations about life and the world around them. The strips sometimes offered philosophical depths unachievable through words alone.

Director Joel Allen Schroeder is that fan who in part serves as our guide through the film, as he visits archives and interviews fans, artists, archivists, and other experts about the strip and its amazing popularity. While the sequence showing a bedroom with unadorned walls that used to display the comics could have been omitted, the range of interviews and their commentary on the subject is deep and insightful. The experts talk about the comic’s popularity, the comic’s artistry, and the comic’s overall impact on other artists and on fans as well.

One extended sequence centers on the absence of licensed merchandise relating to the strip. Watterson refused the licensing of the strip’s characters at a time when most strips’ characters appear on, well, everything: cups, lunchboxes, ceramic, figurines, T-shirts, you name it. Just think of Peanuts; Snoopy even sells insurance. Can you imagine Calvin or Hobbes selling anything?

Me, either.

That licensing could have amounted to an amazing fortune for Watterson and his publisher. The only licensed “products” available are the books, which seems fitting as the documentary suggests a different kind of return for the strip — its enduring popularity among new generations of readers.

Another sequence addresses the changing nature of distribution. Part of this distribution was the print edition of newspapers, which saw steep declines during the recent decades. Another part of this distribution is the expansion happening through online comics, such as xkcd and The Oatmeal, among many others. While online enables distribution outside the conglomerate syndicates, it also creates the difficulty in standing out among all the offerings. Calvin and Hobbes appeared at just the right time in the papers, it seems.

The key strength of Schroeder’s documentary is the interviews, though it is odd to hear them talk about Watterson without hearing from Watterson himself. Animated sequences bring further visual interest to the comics themselves, and the music is appropriately light throughout. And while I understand Schroeder’s technique of building the documentary around his own position as fan, the solid interviews already here would have carried the subject well enough on their own.

Get more documentary film news and features: Subscribe to POV’s documentary blog, like POV on Facebook or follow us on Twitter @povdocs!

Heather McIntosh
Heather McIntosh
Heather McIntosh started Documentary Site as a resource for documentary media and has greatly enjoyed the connections it has fostered over the years.
  • eve

    upsurp, you are entitled to your own opinion, however everything you said was a disrespect to the filmmaker, his family, friends, AND his deceased son.

    This documentary was amazing… And an amazingly heart-felt depiction of a man who is obviously well deserved of having a film made about him… Props to Kurt Kuenne for creating such a masterpiece!

    This comment has been edited by the moderator for personal attacks.