Le funambule

What does Philippe Petit do now? Is he Professor of Advanced Balance at the Sorbonne? Is ha a therapist dealing exclusively in acrophobia? He seems to be a man so specialized that he was meant in life to do only one thing, at one time, and this film is about that moment and shows why a moment--a half hour, actually, in the early morning of August 7, 1974--can define a life and reshape one's perceptions. After the long slow methodical buildup, when the moment comes, calmly accompanied by a famous piece for solo piano by Eric Satie, it is so awesome, so still, so transcendent it makes you cry. No question why this film needed to be made.

Why is it that walking across a wire up in the air can be an aesthetic experience so exalted it brings you to tears? I don't know, but that's what 'Man on Wire' is about.

Philippe Petit is a clown, a sprite, a magician, an athlete, and a dancer. When he was seventeen, before the World Trade Center was even built, he knew it had to be his. It was as if it was invented just for him. . This was his greatest exploit. His triumph. It was to make him world famous.

A 'funambule,' the French call them. A tightrope walker: the epitome of risk-taking Only this time he increased the risk. Like his earlier walks between towers of the Cathedral of Notre Dame in Paris and pylons of the Sydney Harbor Bridge, only more so, Petit's walk on a wire between the Twin Towers of the World Trade Center, the tallest buildings in New York City, was illegal, a 'rififi,' a break-in, a caper. Some call it "the art heist of the century." But it's not an ordinary heist. They stole nothing, except the air, our breath. Petit and crew didn't take anything out. They took in a ton of equipment, most importantly enough heavy wire and support wire to secure his pathway across the towers.

If you could make a documentary about a successful robbery, it might be something like James Marsh's film about this event. There is the conception, the reconnaissance, the gathering of accomplices, some of whom out of wisdom or fear opt out, even up to the last minute. The false start and bailout. The months of rehearsal. The miniature mock-ups of the top of the towers (handsome, and in wood). The trial runs and on-scene observations, the skillfully made false documents and identities, the changes of costume (for Petit himself, businessman, construction worker, and the ballet shoes and black velvet costume of the tightrope walker And of course Petit and company were documenting all of this. Marsh has admirably gathered all the images, plus simulations, plus the present-day talking heads, several in French, the others in English. This time simulations seem quite justifiable. There are things we need to see--particularly the crew dodging and hiding from guards on the towers.

It's all like a game; a lark. And at the same time, lethal, dangerous, and a defiance of the laws of man and God. The simulations are appropriate because this is all so unreal anyway. Why not add a little fakery?

Philippe Petit is more than a little bit strange. And in some indefinable way he is also quintessentially French.. Not only has he an incredible insensitivity to danger (and drive to overcome it), but this diminutive, almost weightless fellow has his unmistakably Napoleonic side, his grandiosity. But also playfulness. One of the best moments is when he is being arrested and photographed (charge: trespassing; event description: "man on wire"), he takes a policeman's uniform cap and balances it on his forehead by the bill, then flips it onto his head. His exploit had made him a celebrity and a mascot. He enhanced life, made a partly clunky new landmark beautiful and remarkable.

After the event, he knew he was famous. How can you ask me if I'm thirsty, he says to a psychiatrist, when 300 journalists are waiting to interview me? And his first act after release was, as somebody put it "to bang a groupie," which he himself describes as "disgusting." Maybe he was steadier out on the wire, where he remained for half an hour, high over New York, without a net, crossing and re-crossing eight times by his friend's count. And then afterwards, somehow things were so bent out of shape that he ended two key relationships--with his girlfriend and his collaborator (both of whom help narrate this film).

This is troubling, but Petit is also wise, a saintly kind of man, immune to ordinary temptations (except groupies?). When asked why he'd done it, he said: "If I see three oranges, I have to juggle. And if I see two towers, I have to walk." The psychiatrist judged him "same and ebullient." His was a pure act, an existential declaration of joy, an example of how to live life daily to the fullest. "Every day for him was a work of art," says his girlfriend. "L'art pour l'art," art for art's sake, is his motto. All of which is pretty thought-provoking, and may be inspiring. At a time of many excellent documentaries, this one seems indispensable. It provides a very pure kind of thrill. Needless to say after 9/11, the buildings gone, the recreation of this moment evokes nostalgia and loss.

Actually Petit has done much since the event. Right afterward the charges of trespassing and criminal conduct were dropped with the promise that he would perform juggling acts for children in Central Park, and he was given a permanent pass to the towers. A policeman interviewed at the time says when he watched, he knew he was seeing something unlike anything he'd ever see again. Sometimes you do know. When he was interviewed for this film, he was artist in residence at the Cathedral of St. John the Divine.

We saw this film at the Edinburgh Film Festival, it's European premier, and it was a packed audience. Unfortunately due to an error, the reels were swapped in the middle of the film, which threw the timing a bit but to be honest the poor organisers looked so miserable as they apologised that no one minded, and the film was just as beautiful as it should have been.

We were lucky enough to have a Q&A with the director and the star, Philippe Petit where we all asked the same old questions; 'how did it feels?' 'are you scared of death?' 'what made you do it?' but what made the experience and the film so refreshing was the personality of Petit. Of course you would assume he is a rampant egotist, he was a very good looking young man, talented, with a raft of friends happy to be involved in his dangerous and exciting endevours. Petit is actually incredibly funny and oblivious. I would describe his act not as simply entertainment but as a sublime experience, taking us to the edge of terror and death.

I was worried I'd spend the whole film with clammy hands, watching a guy on a high wire so high up, but his friend describes it so well the feeling you get watching him walk up there, it's so poetic and peaceful.

This is a very unusual film, very beautiful and exciting. I would say that it is suitable for any age but take your mum and dad, they'll love it.

"Genius is a transcendent capacity for taking trouble first of all" Frederick the great by Thomas Carlyle

"Genius: the mental endowment peculiar to an individual; that disposition or aptitude of mind which qualifies a person for a certain kind of action or special success in a given pursuit." Webster's International Dictionary

This is Phillip Petit, the 25 year old who in August of 1974 walked a tightrope between the Twin Towers of the WTC. Yet what is that which makes a documentary on such a fantastic, quixotic accomplishment relevant to us mortals? Is it not the same kind of awe the passers by experienced when they saw that morning a tiny figure suspended above the void, the same kind of marvel the people interviewed experienced again when they described Petit's walking on air some thirty years later? What is Petit's accomplishment if not a profound religious experience, a form of divinity in itself? And it is exactly because Petit's action bears no explanation, it has no rationale behind its daring do, no tangible end by which to hold it and examine it in the light of logic. The action in the same time the reason of it. What did Petit accomplish but a monument of human perseverance, enduring will and the triumph of mind over matter?

If MAN ON WIRE is so successful at what it does, it's not only because of the feat it purports to describe but because of the path it takes in describing it. Staging it as a heist thriller, filmed in black and white in shades of noir, orchestrated like a bank robbery of sorts, the same kind of films Petit laboriously studied as he was preparing his takeover. By presenting us with real people who emote better than a lot of actors could even dream of. By placing Phillip Petit pivotal in the narration of the events unfolding, a passionate man with an almost half-mad gleam in his eye but also a love of life that leaps across the screen as utterly genuine. By adopting the skeleton of a real movie - not a sterile "went there, did that" documentary but one with a premise, plot, setup and payoff, climax and conclusion.

Filmed with true cinematographic flair, in turns suspenseful, faith-reaffirming and awe-inspiring, MAN ON WIRE is the unexpected show-stealer of the year, sneaking under the nose of Hollywood behemoths with 50 times its budget and doing what they're too sluggish to do, too dazzled by their own spectacle. A simple story beautifully told.

I saw this at the Waterfront Film Festival in Saugatuck, Michigan.

Man on Wire is an exciting documentary about Philippe Petit who, thanks to his friends, managed to sneak into the World Trade Center in 1974 and do a high-wire act between the Twin Towers.

From the very start of the film it pulls you in, this is an amazing story and Petit is an amazing person to document. Sure, he's a reckless person and has a wild personality, but he's fascinating to watch. The interviews with him and his friends and "team" who helped pull off the stunt are extremely interesting and great to watch. It's fun watching old footage of Petit performing some of his previous acts, this guy really has talent, and may be a bit too determined and crazy. The reenactments are also well filmed and a nice job of telling the story.

This documentary plays like a classic heist film. It's filled with suspense and has many of those caper moments of mistakes that may ruin the entire job. Even though the final outcome is already known, it's still thrilling and you don't know if they will pull it off.

A well crafted film that does a wonderful job of telling the story of one man's dream and how he managed to make it a reality.

Easily one of the best documentaries I've seen, Man On Wire swept me off my feet not with spectacle but with a certain quiet recognition of the incredible events it chronicles - a team of young, rebellious twentysomethings who rigged a wire across the twin towers that their mascot, Philippe Petit, walked or as one police officer comments, "danced," across for forty- five minutes.

The reenactments are superbly done, and director James Marsh keeps the film at a short 90 minutes to keep it from getting boring. Perhaps the most surprising thing was the eloquence and insight of the comments by Petit and company. His ex-girlfriend Annie, for instance, said of meeting Petit for the first time "he courted me... and then my life was all about him. it was as if I had no destiny of my own... I was following his destiny."

Viewing the movie as a character study of Mr. Petit offers another layer to film - this man, who seems wholly self-consumed and unaware of a) the potential problems of any such idea he stumbled upon and b) the emotional pressure he was putting on his friends who could have aided his death, speaks frankly even when discussing the aftermath of his stunt - which indirectly ended many of his friendships with people close to him.

But despite his own shortcomings, viewers cannot deny Petit as the man who did something that none of us could ever imagine: he pinpointed his dream and he achieved it. "The towers were built for him." Annie comments at the beginning of this powerful and poignant study of triumph and aspiration. And in the end, it is the not the actual nineteen seventies footage depicting a tiny man walking the line between life and death that communicates this theme the most; it is a pencil drawing Petit drew on a wall beforehand - two rectangles and one, sloping line between them. It is this thin curved line, this gossamer thread connecting two shapes that signifies the whole expanse of the human spirit.