Apes and Apertures

Last weekend I watched films…I’ll give you a couple of minutes to compose yourself.

Ok? Ok. I did this at – well I did it at home as usual but I also toddled along with the lovely Hannah to the rather fine GFT. It was here that I was treated to a brace of non-fiction cinematic offerings: a preview of Project NIM, the new film from James Marsh (Man on Wire (2008) and Wisconsin Death Trip (1999)) and Cave of Forgotten Dreams by Werner Herzog (a chap I personally admire) in 3D because you just need all the D’s you can get.

In short, this was thoroughly pleasant way to spend a Sunday and if you'll allow me to indulge myself I'll let you into why I think...y'know...why.

In Project NIM James Marsh has sewn together newly shot interviews with stock footage from the 1970s and created a piece of film that is thoughtful, funny and highly emotional – it is impossible not to love the star, he’s like people! They call him Nim Chimpsky! And this is perhaps (part of) the point, linguists doing linguist-y things without a care for the subject, and beyond this it may mean that few scientific pursuits fully understand or care about the needs of those they involve in their studies, lives or work. I would say that Marsh succeeds in this film in the same way that Man on Wire felt so satisfying by leading us along in a certain path and then switching the mood of the piece in a way that requires you to question what your position actually is. I wholly recommend this film (that noise was the filmmakers sighing a huge, noisy sigh of relief). James Marsh is very, very...good at constructing narratives.

Cave of Forgotten Dreams is a different kettle of fish - whatever the hell that means.
Given unprecedented access to a cave in France, discovered in 2008, Herzog brings to the screen images 32,000 years in the making.

I will say up front that I was a little disappointed, but this is not to say that it is not a very good film, just that I had VERY high expectations. To quote Kirk Honeycutt ‘Calling this movie fascinating is akin to calling the Grand Canyon large.’ (The Hollywood Reporter, 2010) it is utterly fascinating, the subject and it’s visual presence is simply stunning and the 3D brought a sense of space and texture that may not have quite come across normally (but I don’t think the 3D would be essential to enjoy this film). Herzog has his own usual take on matters and elicits a quirky but genuine humour from the interviewees and the subject but this is where I was disappointed…Herzog does not see the world the same as everyone else. In his other films this is the pull for me, but the restrictions in the filming of this subject may dilute the usual impact of this. In his wonderful Encounters at the End of the World (2007) we are presented with images that we ponder upon ourselves, only then to be delighted by Herzog’s take. In this film there is so much that can’t be shown giving him no option but to experience them for us and this for me weakened the enjoyment of being exposed to his worldview. But this is being simply a mentalist and should in no way influence anyone to not see this film as it is beautiful, thoughtful and something better than fascinating, I’m just downright picky.

So all in all a very peachy weekend and if you have the chance I say watch ‘em both because they’re just bloody lovely. J