Jane

Relying heavily upon previously unseen footage from the film vaults of National Geographic, this release will be of interest to people who have followed Dr. Goodall's groundbreaking work. To the same audience, however, much of the narrative will already be familiar. To my mind, it is best seen as an appendix to the fine work that has already been done in documenting the now legendary story of Jane Goodall rather than as a definitive synopsis of her career. Given that much of the visuals are over half a century old, younger audiences especially might have difficulty reconciling the production values of mid-twentieth century field location footage with the high expectations engendered by the modern cinema experience. Where this film shines, and the reason I would encourage people to see this film in a cinema, is the sound. The score (by the inimitable and immediately recognizable Phillip Glass) is itself compelling, and appropriately mirrors the emotional cadence of the visual narrative. The sound design and editing, apart from the music, however, is truly brilliant. The theater erupts in a chorus of chimpanzee cries, among other jungle soundscapes, in many parts of the movie, and I almost felt the need to turn around to see what might be behind me at some points. Glass also cleverly weaves chimp calls into the score in a syncopated "cat's cradle" of rhythm at one point, which brought a smile on my face by mere virtue of its compositional ingenuity; this film is "ear candy." That being said, despite the many out of focus and grainy shots, there are some truly breathtaking visuals in the movie provided by Hugo van Lawick, Dr. Goodall's original videographer and eventual (ex)husband. The most breathtaking stuff comes from the Serengeti, and is therefore ancillary to Dr. Goodall's work the Gombe Reserve, but is still important in the personal narrative of her life. You will not see a more intimate portrayal of Dr. Goodall's journey elsewhere however, despite the miles of celluloid devoted to her. Anyone who reads her books will already be familiar with the story disclosed in the story line itself, including the incalculable value of the influence of Dr. Goodall's mother, but the footage of "Mum" in camp at Gombe will be a treat for those who have hitherto only known her as a character mentioned in prose, passing dialogue in a previous documentary, or mention in one of Dr. Goodall's innumerous public appearances. While much of the visual media of this film is novel, and the narrative itself mostly familiar, the presentation is likely to entertain, if not inform, almost any viewer. Modern audiences are cautioned to understand that this is not a film that relies upon computer- generated special effects, explosions, and a vast post-production budget beyond restoring and improving half- century old celluloid reels. It will very likely succeed in evoking an emotional response, which is, after all, the aim of any artistic work. That Dr. Goodall's entire career succeeds in the same vein is a powerful argument for the assertion that her life itself must be viewed as a contribution to art as much as to science.

One of the best documentaries. Flows and moves like an actual movie, with a narrative that moves so effortlessly with a clear beginning, middle, and end. Brett Morgen should really be applauded for giving this such a rich pathos and a clear thematic focus; it feels so cinematic, and has a real sense of progression.

To see such parallels between Goodall's duties as both a wife and mother when compared to her animal subjects is so endearing, especially knowing that this is real footage being used; in that light, this is one of the year's best edited films.

"Jane" is a pretty good doco; indeed, among the best I have seen. Unlike many nowadays, including some other National Geographic product, it maintains a high standard in all respects. This includes its overall construction, the near-impeccable score, the absence of hysterical and breathless dialogue and commentary, and most of all, the editing and fine mixing of archival and new moving and still imagery. The story, of course, stands on its own two feet.

So I have no quibbles. Any complaints about some fuzzy pictures ignore such realities as the quality of films made in difficult circumstances with the equipment of the day decades ago, even by professionals, and the few home movie clips which this production employs judiciously. Critics of fairly frequent footage of Goodall carrying and using binoculars, and staring into the jungled distance are a humorous reminder of my eight visits to Africa. I found many tourists (especially but not exclusively American) with such a low attention span that they complain if they don't see an amazing critter around every bush and have no patience for searching. I don't mind "Jane" reminding us that binoculars are among the most used and more important tools of wildlife watchers and photographers. Goodall's need for binoculars sits side by side with her discovery that chimpanzees, just like humans, make and use tools.

"Jane" (2017 release; 90 min.) is a documentary about the life and times of Jane Goodall. As the movie opens, we are reminded that in 2014 hundreds of hours of 1960s film footage was unearthed at the National Geographic archives relating to Jane Goodall. From there we go back in time, and we get to know Jane, then 26, as she is chosen by Dr. Leakey to observe and mingle with the wild chimps in Gombe, Tanzania, even though she has no training or science degree (yet). It was important to Dr. Leakey that someone with an open mind without preconceptions would do the observing. Jane can't believe her good fortune as this is a dream come true for her. She throws herself into her work. At this point we are less than 10 min. into the movie.

Couple of comments: this is the latest from documentary maker Brett Morgen, who previously brought us the excellent "Kurt Cobain: Montage of Heck", Chicago 10" and "The Kid Stay in the Picture", among others. Here he sifts through mountains of rarely or never seen footage shot over half a century ago, showing us how a 26 year old single white woman decides to do whatever it takes to integrate herself into a community of wild chimps. Along the way we also learn a thing or two about Jane's personal life.But the primary reason to watch this is the 1960s footage of the bush and what life was like back then. There are some extraordinary scenes, and some frightening ones as well. But it always kept my attention. last, but certainly not least, Morgen was able to convince the legendary Philip Glass to write a brand new score for this movie, and that score is classic Glass, just gorgeous (available here on Amazon on CD and as a download). You can bet I will check that out shortly.

"Jane" opened to positive acclaim at the Toronto International Film Festival last Fall. I was quite surprised that it didn't score a Best Documentary Oscar nomination, but that doesn't diminish the movie's quality or its appeal. This recently opened for a one week run at my local art-house theater here in Cincinnati. The screening where I caught it at (on the very last day of that one week run) was attended quite nicely actually (probably other people who, like me, wanted to catch it before the end of its run). If you like nature/animal documentaries, or are simply curious to learn more about the life of this extraordinary lady, you cannot go wrong with this. "Jane" is a WINNER.

What an amazing true story, makes you smile form ear to ear.