Crawford

 (Docu)

Even some of his greatest admirers in Crawford freely admit that Bush, then governor of Texas, purchased a spread near the small town (population 705) in 1999 primarily to enhance his folksy, regular-guy image before his presidential campaign. His arrival -- and, later, his declared victory in the disputed 2000 election -- quickly proves to be an economic boom for a community that never fully recovered from droughts and downturns of the 1960s. Indeed, the local Baptist minister goes so far as to suggest Bush's choice of Crawford just might be a miracle.

As tourists and journalists flock to the area during Bush's first administration, Crawford merchants enjoy a financial windfall. (A proud souvenir store owner says Christmas ornaments emblazoned with Bush's image are big sellers.) Still, there's some seriocomic grumbling by image-conscious residents about how Crawford is presented to the outside world. These folks are especially annoyed by the many TV newscasters who repeatedly shoot in front of the same faux-rustic backdrop, a tumble-down barn actually several miles away from Bush's property.

After the invasion of Iraq, divisions among Crawford residents grow more pronounced. As the president's popularity plummets, tourism decreases. ("The novelty's gone," a merchant sighs as she prepares to board up her business.) "Crawford" ends with a toting up of tragedies, including a suicide, and an airing of resentments, counterbalanced by the testimonies of those residents who remain supportive of their famous neighbor.

To his credit, Modigliani strives to present Crawford residents of all persuasions -- even those most infuriated by the peace activists -- in an uncondescending fashion. Bush himself remains a distant figure, glimpsed only in news footage and homemovies shot by locals. In the context of this doc, he seems far less real, less substantial, than the people whose lives he has affected. Aud is left to decide whether this disparity is accurately reflective of a nationwide disconnect.

Pic, shot in attractive HD video, benefits from David Rice's subtle, sparingly used musical score.

Camera (color, HD), Deborah Eve Lewis, Cary McClelland, Ryan Pavelchik, Modigliani; editor, Matt Naylor; music, David Rice; sound, 501 Audio, Corey Roberts, Dave Bewley. Reviewed at SXSW Film Festival (Spotlight Premieres), March 8, 2008. Running time: 74 MIN.