La guerra del fuoco

I caught this in Boston back in 1981. They played it in the biggest cinema they had in 70mm and in stereo sound. I had only the slightest idea of what it was about but it sounded interesting. When I realized it was a caveman movie I almost left, but the beautiful wide screen cinematography kept me in my seat. Slowly it worked on me and by the end I was mesmerized.

There's not really much of a plot--the caveman discover fire and different sexual positions--and there's no dialogue that we could understand but it didn't matter. The whole cast was excellent--especially Ron Perelman and Rae Dawn Chong (who had guts to do this). Their whole performances had to be done using some foreign language and body movement but they pulled it off. I heard Anthony Burgess was called in to develop the language used and coach the cast in how to use it. The cinematography is just breath-taking and the prehistoric animals look realistic all the way. I can't exactly say why I loved this movie but I did.

20th Century Fox deserves credit for actually acquiring the film and releasing it. Naturally it bombed badly here in the US but it seems I'm not the only one who likes it--when I mention it to friends I just get a blank look back. I haven't seen it since 1981 but it's never left me. Try to see it on a big screen TV. I give it an 8.

Ignore the idiotic negative comments of the naysayers. This is a great film. It boldly creates a world unlike any we've seen before, with dedicated actors going well beyond the call of duty in portraying a life and death struggle for survival under the most harrowing conditions imaginable.

Featuring Claude Agostini's splendid wide-screen cinematography of remote, rainswept landscapes and a rich score by Phillipe Sarde, this movie will take you on a compelling journey that, if nothing else, will clarify the routine creature comforts of our civilized world in a manner more direct than anything you might have previously experienced in a theater.

Jean-Jacques Annaud and collaborators tell their tale with dramatic simplicity and virtually no dialogue, but the points made are powerful. Humanity survives, and will prevail despite our weaknesses and faults. Overall, a remarkable, life-affirming work.

I saw this film (on VHS rental) so long ago I might have been in it. My (ex) wife & friends thought it was stupid - "What's going on? Nobody's saying anything". I found it mesmerising and have been looking for it ever since (car boot sales, Ebay etc).

OK, if you've two adjacent brain cells, you'll spot the anachronisms and the cheap effects, but credit where it's due for originality and balls - to the director and the backers.

If you're sick of hype and tripe, find it. If you're hooked intravenously to Hollywood pap (as 99.999% of the world's population seem to be) then give it a miss.

Just my 2p.

Stanley Kubrick's classic "2001" celebrates the first weapon, when a hairy primate through some burst of savage genius turns a useless thigh-bone into a dominating club. He thereby takes a giant first step in humanity's long pursuit of bigger and better weapons. On the other hand, "Quest for Fire" dramatizes humanity's other side: the civilizing arrival of the campfire. But not just any campfire; instead it's the security found in mastering the technique to make fire any time the tribe wants. As a result, the Cro-Magnons have for the first time some control over their environment and can take time to relax. That's made apparent at film's end when the clan gathers happily around crackling embers to relate stories through crude gestures and grunts. Perhaps the evolution of complex linguistic forms had its origins in just such relaxed moments, when imagination and thinking could take hold and get expression in the company of others.

There's also that overlooked moment when Naoh humbly approaches the lordly herd of marauding mastodons. Tufts of grass in hand, he bows his head in an unmistakable gesture of submission, to which the herd responds-- not very plausibly --by chasing away the attacking cannibal clan. The point here is that Naoh understands in that quiet moment that we must live humbly with those forces much greater than ourselves if we want to survive-- a possible seed of what would later become religious belief, whether in the forces of nature or in the supposed power of the supernatural.

Of course, this is all speculation. The filmmakers don't exactly hit you over the head with their messages. However, the point is that the film succeeds admirably in getting you to think about the natural history of what these lowly but momentous origins must have been like. Moreover, there are other suggestive moments, such as when the camera transitions from Rae Dawn Chong's pregnant belly to the distant full moon and humanity's far-off future. Some reviewers point out scientific flaws in the script and reject the film on that basis. But that misses the point. Of course the film is not a documentary, so no serious researcher would base a study on it. Nonetheless, the movie remains just that, a well-staged and provocative ninety minutes of unusual filmmaking. I've seen nothing like it before or since.

Much has been said about the movie and all I want to add is what I think are the two best scenes in the movie. The first is when the clay covered tribe member took Naoh into the cave and showed him how to make fire by friction. The look on Naoh's face could not express more wonder if he had pulled a buffalo out of his ear. The second scene was after they returned to their own tribe and tried to narrate to the rest of their tribe the things that they had seen along the way, seemingly inventing language as they went.