Review: Man on Wire (2008) *****
Image ©2008 Jean-Louis Blondeau / Polaris Images
“If I die, what a beautiful death. To die in the exercise of your passion.” – Philippe Petit
“It was so beautiful. It was like he was walking on a cloud.” – Annie Allix
It’s difficult to watch a man walking a tightrope between the two towers of New York’s World Trade Center in August of 1974 without thinking of what happened 27 years and one month later. For some viewers, 9/11 will certainly cast twin shadows of sadness over Man on Wire, but the eventual fate of the towers is never referred to. James Marsh’s beautiful and surprisingly moving documentary is not about the towers. It’s about Philippe Petit, the Frenchman, acrobat and mad dreamer who dared walk out over the void, standing on nothing but a thin measure of cable strung between the two tallest buildings in the world.
Though the World Trade Center is the shared stage, Petit’s particular act of defiance is a work of transcendent performance art rather than one of senseless destruction, his every vertiginous step simultaneously defying the laws of gravity and the laws of society; a rebuke in retrospect to those others who, like children, seek to destroy the game they believe can’t be won.
Through archival footage, old photographs, reenactments and modern interviews with Petit and his international band of accomplices, Man on Wire jumps back and forth between the day of the walk and the execution of the impossible plan to get nearly one ton of equipment to the top of the unfinished towers undetected. It all plays out with the suspense of a classic heist film and fittingly, Petit revels in his role as a lawbreaker. However, rather than steal something, he leaves something behind: an ode to the human capacity for mischief, adventure and ingenuity.
Petit is a magician not a thief, but instead of passing illusion off as reality, he takes a dream and brings it to life. Part of his trick is the ability to take a liability and turn it into an asset. When he injures himself at one point and ends up on crutches, the thing that could derail his whole plan instead becomes something that literally opens doors for him. He’s also a born leader, a charismatic master at rallying allies to his strange and dangerous cause – people who later can’t seem to explain why they did what they did yet are choked to tears recalling the day with awe 30 years later.
As for Petit, when asked why he did it, he responds enigmatically: “there is no why.” Why does a painter color a canvas or a sculptor shape a statue? In this case, the answer is etched on the fearful yet amazed faces of the crowd that gathered to watch him perform his miraculous stunt. It’s also captured on his own face in one of the photographs taken during the 45 minutes he spent on the wire, crossing between the towers a total of 8 times, taunting the police who had come to arrest him. Ordinarily an energetic and fidgety man, here is Petit, standing in the middle of the wire, deep in concentration but smiling serenely, a beatific expression of peace on his face like some kind of impish Buddha.
Man on Wire takes time to interview all the people involved in Petit’s stunt, but of course Petit is the star of the story and it is his energy and enthusiasm that drives it along. He’s never made out to be a perfect human being. His ego is large and his attitude about others is at times cavalier, but he’s an animated wellspring of energy and enthusiasm. He’s also a terrific raconteur, recalling every exciting detail of the plan, the execution and the walk itself. It seems when you live life on the edge as Petit does literally, life is burned into your memory like a photograph. At one point he recalls stopping in the middle of his walk to look down at the street below. It’s something a tightrope walker never does, but he knew it was a sight he would never see again and he couldn’t resist.
Documentary purists may squeal about the use of reenactments in Man on Wire, but like most purists they’re missing the forest for the trees and the point for the principle. The revelation here is not in how Petit pulled off his stunt, it’s in the effect it had on the participants and the onlookers. The setup provides the early suspense, and as such it’s befitting some of it is dramatized, but the tightrope walk is the payoff. The stunt itself is never recreated, but instead the photographs and remembrances speak for themselves.
What do the images say? They say that life is not full of obstacles to be endured, but challenges that should be met head on and embraced. That is Petit’s message and this is his inspirational example. Whether he’s a criminal or a magician, a crackpot or a poet is for the viewer to decide. Whichever you choose, Man on Wire is an enthralling, entertaining and surprisingly moving documentary. Full of humor and drama, it transcends current events and becomes something timeless. It is easily one of the best films of the year.
Man on Wire. UK 2008. Directed by James Marsh from the book To Reach the Clouds by Philippe Petit. Cinematography by Igor Martinovic. Music composed by Michael Nyman. Edited by Jinx Godfrey. Featuring Philippe Petit, Annie Allix, Jean-Louis Blondeau, David Foreman, Barry Greenhouse, Jean-Francois Heckel, Mark Lewis, Jim Moore and Alan Welner. 1 hour 34 minutes. MPAA Rated PG-13 for some sexuality and nudity, and drug references. 5 stars (out of 5)
Filed under: Reviews
Wow, this sounds incredible.
I loved it. I hope I’m not overselling it.
Terrific review, Craig. You even broke out the ***** rating.
This arrives in my neck of the woods August 8. Looking forward to it.
I cannot wait!
I saw MAN ON WIRE myself last night as part of a same-theatre (Landmark Sunshine) double feature with AMERICAN TEEN. I liked the latter for sure, but I completely agree with Craig that it doesn’t approach MAN ON WIRE, which may well be the greatest documentary of recent years. I know Dan is also on board here. As far as the unusual five-star assessment, I can’t argue with it. I am torn myself with five and four-and-a-half, but regardless of how I settle, this is a magisterial film, one that does (as Craig clearly contends) stand with the very best films of 2008.
“Full of humor and drama, it transcends current events and becomes something timeless.”
Beautifully said, and so true, methinks.
As far as those “documentary purists” taking issue with the re-enactments, well that issue loses validity in the absence of real-life footage. As it is, there was more by way of real footage than I thought there would be.
As always, cleanly -written and lyrical, a deft expression of real passion in film criticism.
“I loved it. I hope I’m not overselling it.”
You’re not, and you know it. Completely engrossing. I need to write mine.
By the way Craig, I must tell you also that I loved the two quotes you used as a lead-in to your review by Petit himself and Annie Allix. The Petit comment pretty much sums up his entire philosophy on life.
I actually spoke with the publicity person for one of SA’s major film distributors today, asking when both “Man on Wire” and “American Teen” were being released here, and she had never heard of them. Then I proceeded to yell when I realised what that actually meant. Good times!
Nick, this means they will be with you soon? If so, Good Times indeed!!!
I’m going to hold off on reading the review Craig, because I’m really looking forward to this one.
Thank you all. It’s easier to write a review when you’re feeling the movie, so if this review is any good, it’s a testament to the film.
Nick, that sucks the big one, but you don’t need me to tell you that. I can see why maybe AT wouldn’t play, but MOW should be seen by everyone.
Joel, you’ll hopefully have your chance next week when it opens wider.
Finally got my chance to see Man on Wire. I don’t intend to oversell this to anyone, but this one is going to be a tough act to beat for #1 on my top ten of 2008. Great documentary.
Ahhhhh…that sigh of relief you hear coming from LA is me. Pleased you were captivated by the magic, my friend.
Some douche on House Next Door walked out part way through because he was annoyed that they used music from a couple of Peter Greenaway films. Basically, his whole column was just an excuse to name drop obscure soundtracks he had memorized.
Seriously. Walked out 45 minutes in to one of the best movies of the year. http://www.thehousenextdooronline.com/2008/07/man-on-borrowed-piano-wire.html
I really enjoyed this film and now reading your review. It was really something to see Jean-Louise crying twice when he spoke of it.
Even at times when Petit seemed completely nuts it was impossible not to admire his courage and inspiration. I loved the humor that was laced throughout it as well.
“World Trade Center Association—–>”
LOL.
I still get misty eyed thinking about it and it’s hard to put into words why. Sometimes movies are just beautiful like that.
And Petit was such an engaging character. He had an ego on him the size of one of the towers, but a great storyteller. So excitable even 30 years later.
And yeah, the participants getting choked up. Amazing.
Love this movie.
I am with you lock, stock and barrel. It may well be the best film of 2008, with two or three others providing strong competition, but after a second viewing, I may annoint it as we near the two-thirds mark of the movie year.
Another scene I loved was when he’s crossing the Sydney Harbor Bridge. Below is traffic and chaos and people flipping out and cops and he’s up their on the wire as peaceful and zen as can be.
Fantastic.
That was a great part. I also loved the whole “hiding under the tarp” riff and how every once in awhile in the middle of the telling of the story they’d cut back to the tarp and the two guys hiding underneath. I cracked up every time.
So many things to comment on, but I loved the wistful, light humor that surfaced frequently — not to mention the “zone” Petit was obviously in during the WTC walk.
And I loved how different cinematic techniques were used — but not overused — to good effect, not the least of which was suspense. The use of split screen really captivated me at a moment when, in other films, my interest may have lagged.
And the music was imaginatively chosen — whether it was popular or classical — in a way that brought me into the “zone.”
You describe it perfectly, Pierre.
The music was lovely. A great true-life story about an amazing feat and it was told in an entertaining and engaging manner, with much humor and suspense.
Yes, Pierre, particularly the sublimely beautiful Satie piece, which accentuated the film’s poignancy.
I also loved the playful way Marsh treated the illegal trespass, fully in keeping with the judge’s final verdict of “community service.” and of the voice-over by Petit in re-enactment explaininmg how he miraculously averted detection and of the minute details like his keen observances of how a security guard lit his cigarette and the sound of his exhaling.
The funniest line in the documentary was the one where one of the American accomplices announces: “Yeah I smoked pot, so what? I’ve smoked pot every day for 35 years!”
LOL.
Of course for historical buffs, the film was a treasure trove of old footage chronicling the planning and construction of the ill-fated towers.
The music was great, worked perfectly with the subject matter and while I can concede the issue that the HND reviewer ran into, I thought walking out on the film was pretty poor taste (I commented likewise over there on that one).
I was deeply moved that Petit’s life seemed to change so radically once he made his wirewalk between the Towers, as though his entire life was meant to achieve that goal and once it was accomplished he had to start over again in many respects.
For me, his obsession and his quest to achieve the goal almost eclipsed the goal itself. It’s rare to see someone so aware of their life’s goal and so focused on it. I found the walk itself to almost be anti-climactic. Almost…but it was pretty amazing, can’t deny that.
I loved your comment, Craig, that he was monk-like in his calm and joy while making that wirewalk. There was something spiritual in his devotion and intensity.
The music is something I didn’t talk enough about in the review, but it fit perfectly for me and I couldn’t place any of it except for the Satie.
Marsh politely rebutted that HND character’s criticisms, but I haven’t read the follow up.
I’ve never wanted to see a documentary a second time, but I’m all over this one. It’s another one of those situations though where i worry the 2nd time won’t be as magical….but the response of you guys gives me confidence.
Joel, I’m glad you picked out that line. It’s kind of the root of how the movie made me feel. Very spiritual, but not in an organized religious sense. Very moving and inspiring.
And seriously, when you heard about this movie, did you imagine that it could actually be moving? On top of that you have the suspense bonus plus the abundant humor that Alison points out. It pushes all the buttons that a good fiction film pushes without selling out its documentary soul.
Yeah, I had no idea what it was going to be about when I first heard of it and if I hadn’t seen your capsule response from LAFF I might have missed it entirely. Once again, LAFF coverage has spread some unexpected cinematic joy around. Kudos to you and your hard work.
It has a lot going for it. I’m thinking of seeing it again too, although I have some other movie priorities to get to first. I definitely would like to share it with others, kind of one of those movies that you want to drag people to hoping they get as much out of as you.
“Of course for historical buffs, the film was a treasure trove of old footage chronicling the planning and construction of the ill-fated towers.”
Sam, your statement reminds me of how dull and ponderous this movie might have been in someone else’s hands. Fortunately for us, the chronology and otherwise uneventful footage is structurally placed and accessorized for maximum effect.
I am EVEN MORE stoked to see this after reading these comments.
Indeed Pierre indeed. It was the sparing use of this footage within the framework of Petit’s coming to terms at an early time (in this instance his realizing he wanted to climb these towers even before they began construction) that made the use of it thematically intergrated into the eventual act itself.
We must credit Marsh, a former Cornwall television director with maximizing it’s effect, when (as you rightly say) it’s overuse would have been cumbersome.
Nick, I must admit I feel for you here, but I bet you will see it very soon.
The visual juxtaposition of those images with Petit’s formative years was a nice touch. The construction of the towers mirrors Petit’s growing obsession with walking between them, deftly handled in the narrative.
I think the images could have worked in a variety of ways. I found them fascinating, but I think they were used to maximum effect in the doc.
Wow.
Just wow.
Yeah! right?
catching his breath
Right!
Warms my heart to hear you say that. I want everyone to love this movie.
I have as yet to find anyone I personally know that saw it and wasn’t blown away. I feel more and more safe in my original assessment: this is easily one of the best movies of the year.
Sadly, it still hasn’t even cracked $1 million.
So typical.
Hands down the most moving, powerful, and brilliantly made movie in years. I get tears in my eyes just thinking about it. Just staggering.
Thanks for stopping by Jasper. I totally agree with you. Whenever I see the trailer, it makes me emotional all over again. I reaction I never expected to have.
All I have ever seen is the trailer, and that alone is a great, great trailer. Best trailer of 2008, without a doubt :P
Nick, you’re going to hate this thing by the time you see it with all this hype.
I got major practice last year with No Country, There Will Be Blood et al, and I loved them all, so I remain optimistic :)
Well, I hope you’re not disappointed.