Man on Wire - Un uomo tra le torri

For me, this is what cinema is all about, and this film is striking in that it encapsulates so much in a documentary. Man On Wire has more suspense, thrills, wonder, imagination, human spirit and inspiration than any other film I have seen in recent years. The music, composition and photography, structure and editing are all superb. Some of the shots are simply breathtaking. Some scenes in the film are incredibly atmospheric, and they will be forever burned in your mind. The film captures a human sense of achievement, drive and determination better than any other film I know. Heres the ultimate proof of this films power - the audience didn't shift until a good couple of minutes into the credits.

I went to see Man on Wire with my mother and a friend, and after it my mother said simply "something like this will never happen again." Meaning not so much that someone won't try something death-defying or crazy like walking a tight rope somewhere or climbing up a building (matter of fact that still happens in Manhattan as recently as a couple of months back), but that this sort of situation- a man going across something as perilous and unique as the Twin Towers- is based in a film that preserves his story like so. Philippe Petit was already a tight-rope walker who did some crazy stunts (i.e. crossing Notre Dame's stretch of space in Paris), but this was his crowning achievement which, oddly enough, didn't quite get the kind of buzz the film might depict; the day of Petit's walk across the towers, Nixon resigned from the presidency.

Just a simple profile on the man might be enough, and hearing this artist (however "French" he might get in saying that it's like poetry, which maybe it is for all I know) is something to behold as a figure who sees himself as a rebel but not without some reason or in what he does. But Marsh's magnificence is first to actually make us forget, just a second, that the towers are no longer with us; it's never mentioned in the film that they're gone, so the lingering absence is all the more troubling once remembered by the viewer. One is left with the purity of this on-the-surface stunt that becomes akin to a bank robbery to Petit, as he plans and spies on the site and forms a 'crew' to do the job of sneaking up to the top level and for three days continuing to stay elusive (even going under a tarp for hours on end with a co-hort to hide from guards) while attaching the cables- which also, at one point, nearly falls apart as a plan.

Then, second, Marsh reveals himself as good as a director of dramatization in a documentary I've seen since Errol Morris; perhaos even more daring with his black and white photography of what starts as a sneak-in (watch for fake sideburns on the actors), then transforms into a full-blown noir with beautiful lighting and exterior shots of the building and other angles that just stun the crap out of a viewer not expecting such artistry. In a sense Marsh is attempting something as daring as Petit, only by way of telling the story, however non-linearly, in a manner that should get his DP an academy nomination (if, of course, the academy ever got wise to nominate for cinematography for a documentary). And, on top of this, despite knowing partially the outcome- mainly, of course, that Petit lived to tell his tale to the camera as did his (once) friends and lover- it's still thrilling and even suspenseful to see all of this buildup if one isn't entirely researched on the details.

But it's not just about the build-up and execution of that tight-rope walk, although when Marsh gets the chance to show his subject walking across this or other examples he puts it to beautiful, heart-aching music that transcends the material just enough. The man himself, and the people who knew and/or worked under him, takes up most of the time in the story. Petit is a curious fellow who can ramble like any energetic and, obviously, passionate Frenchman, and confesses how he's always been a climber since a child and loves the aspect of showmanship when he can (when not wire walking, he juggles and rides a unicycle, a lovely if strange clown).

We also see his effect on others, like his friend Jean-Louis who co-planned the WTC project, and his lover Annie Alix who found him irrisistable and barely spent a moment worrying what would happen to him. And then there's the assorted 'characters', like in any good noir, that spring up as entertaining and interesting both in present and retrospect form; even a guy with one of those *real* twirling moustaches comes forward and talks, as well as one particular member of the crew who spent 35 years smoking pot and also during the WTC job (Marsh has a wonderful way of sort of 'introducing' them as well, in a walk-in profile and name tag). Hearing them expound about the mechanics of the job, and of Petit's personality and effect on them all, for better or worse as a kind of partially blind optimist, is also a major part of the appeal in Man on Wire.

While Marsh possibly leaves out some possibly intriguing details about Petit after this job ends (save for the immediate details about his sentence and a brief, Clockwork Orange-filmed 'fling' with a local girl), and here and there finding him or even the film pretentious isn't out of the question, so much of it is alive and enthralling and even spiritual to a certain degree that I could forigve most of its possible faults. Just seeing some of that 8mm and film footage, shot at the practice sites, and the stills of Petit's walk late in life, is something that's hard to even put into words how to feel. I'm almost reminded of the wonder one feels when seeing the physically demanding art of Jean-Cristo, who also finds specific locations to pursue his craft. You can't say it specifically, but you know it's art, as is Marsh's film itself.

Constructed, believe it or not, as a heist film, composed of interviews, actual filmed footage from the seventies, re-enactments (done incredibly tastefully and intelligently) and a large number of photographs, "Man on Wire" from director James Marsh is a brilliant, audacious, stunning, and utterly enthralling film, and having seen it not more than an hour ago I can already say with confidence that it is one of the best documentaries ever made, not because it achieves the sort of brilliantly real observations on human behavior and emotions that a Maysles Bros. film does, but because it is a surprisingly hilarious, unbelievably well-crafted movie about so many absurdities, so much ridiculousness, such insane, insane acts (and yet so beautiful as well), and one which looks in on some of the most interesting people I think I've ever come across. I normally don't take to non-'cinema-verite' documentaries, but this is just about the biggest exception possible, as I will say with confidence that this is an a terrific film.

Philippe Petit, the wire-walker who walked between the World Trade Center towers in 1974, is one of the most absurd and audacious people I've ever seen in real life or recorded on film. His spirit fills every frame of the film, and his commitment to this dangerous, illegal, and almost unbelievably courageous act is astounding to witness. The film thankfully affords us the chance to get to know Philippe, and it would have been so easy for Marsh to focus only on the incredibly entertaining planning process for the audacious climactic act, but he doesn't, as through the interviews we get to know Philippe, Annie, and Jean-Louis quite well, and the interviews don't feel as put-on as they do in many other films.

I said that "Man on Wire" was one of the best documentaries ever made. I'm going to disagree with myself. As a documentary there have been many which are more effective. As a film, however, the skill that went into "Man on Wire" is absolutely outstanding. The editing, the quality of the re-enactments, the wealth of footage and still photographs, the excellent interviews, the film's wildly funny sense of humor (the audience at my screening laughed louder than a sold-out screening for most comedies), and the absolutely inspired idea to construct the film as a heist film make this one of the most memorable, exhilarating, and enthralling films I've ever come across. The idea to make it a heist film makes complete sense as well, as the careful planning that went into their entrance into the WTC towers and reaching the roof, and all the steps that led to it, definitely have the air of a typical heist film, complete with surveillance, inside men, disguises, false ID's, and all sort of wacky ruses. It's terrifically entertaining.

"Man on Wire" doesn't ignore 9/11, but it thankfully doesn't become a film which isn't about what its actual subject. There are fleeting moments (including the shot, which unfortunately is in the trailer, of Phillipe on the wire between the two towers and an airplane in the top left corner of the screen) which are immensely powerful and resonant, even chilling, but the film switches back to its effortlessly entertaining original format seconds later

Those with a fear of heights might find themselves hyperventilating at certain points in the film, as even I, someone who has never had an issue with looking down the side of a cliff, felt vertigo coming on at the still, looking down off the edge of the tower, of Phillipe sticking his foot out just before he began the walk across. I guess those are the only people I wouldn't highly, highly recommend this film to. It's a terrific, massively entertaining film, and even I, the grouchy fan of pretty much only ultra-realistic documentaries, have to admit that it is an immense artistic achievement.

9/10

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.

Man on Wire (2008) ****

There was no why. No rhyme or reason, other than the fact that those towers existed. Existed, as one friend notes, for Philippe Petit to walk between them. People have always found it difficult to comprehend that Petit wire walked between the World Trade Center towers, nearly 1400 feet above the ground, without being able to justify his cause. Petit once simply stated that when he sees oranges, he juggles; when he sees two towers, he walks.

The story of how Petit and his motley crew pulled off the stunt is just as interesting as the walk itself. That day in August 1974 and the events which lead up to it are the focus of James Marsh's incredible documentary, Man on Wire. Marsh mixes documentary footage, provided by Petit and his colleagues, with reconstructions, blended so seamlessly every foot of film might as well be authentic. Petit and his friends tell the story with eager enthusiasm, particularly Petit himself. He is a man like no other. He is a ball of energy and charisma, completely harmless to everyone but perhaps himself. He has remained a child at heart.

He details the moment when he first concocted the idea to walk between the towers. While sitting in a dentist's chair, waiting to have a tooth fixed, he catches a glimpse of the towers as they are being constructed in a newspaper. He ran out of the dentist's office in a state of grace. He gleefully recounts that he didn't stick around to get his tooth fixed, and suffered the pain for weeks. But pain was no matter, he'd found his dream. He described his intentions not as a wire walker setting out to conquering heights, but as a poet looking to conquer the stage. A friend recounts that each day for Philippe was a work of art.

Petit had walked between the towers at Notre Dame, and the harbour bridge in Sydney. He was always arrested afterward of course. How joyful that when he was arrested after completing his feat in Sydney that his first order of business was to pick the watch of the police man arresting him for a gag! His reckless love for what he was doing was not fool hardy though. "The fact that death frames what you are doing makes you take it very seriously," he explains. Death was of course on his mind, but his aims were as a poet, a dreamer, an artist - not a dare devil: "If I die, what a beautiful death!" To accomplish his walk between the towers required months of preparation. The crew practiced in a field in France, with a wire the exact length between the towers. To mimic conditions, he had his friends jump and pull on the wires. He never loses balance, his concentration is impeccable. But the work doesn't end just with practice. They had to get nearly a ton of equipment to the top, all without being discovered - at least as impossible as the walk itself. They had to somehow get the rope across. How they do so is ingenious. They acquired id's to get inside, dressed as a mix of businessmen and construction workers (the towers were still partially under construction. One of the most incredible parts of the story is the night they went up to set everything up and do the walk. They're interrupted by a security guard as they begin unpacking. Philippe and his friend Jean-Francois have to run and hide under a tarp, on a beam above the WTC's 400 meter elevator shaft. They hide there, their bodies tangled, not moving, not speaking, for hours waiting for the guard to leave.

Man on Wire is built like a suspense film. It's engrossing and expertly crafted, and told with the passion and thoroughness of oral storytellers of old. Philippe Petit speaks as if he were reciting poetry in his thick French accent. Marsh accentuates the action with pitch perfect choices in the soundtrack, ranging from Satie and other classics to the disco classic A Fifth of Beethoven.

When Petit finally makes his walk, his friends gathered to watch below as he either committed suicide or one of the most poetic crimes of the century, the emotion is overwhelming. He recounts it with unbridled joy, his friends with tears in their eyes. I too was nearly moved to tears of joy. I can't remember the last documentary film to strike such a chord.

If Petit had of failed, he would have fallen to his death and likely been remembered as "that idiot." Petit recalls thinking with one foot on the wire, that to place his other foot on it and take that step was probably going to be the end of his life. Well, this life. If he fell, he would have fallen "to another life." That was his philosophy. But he didn't fall. He made it, 8 times. One police officer describes him as a dancer - he didn't just walk. He taunted police, laid down, knelt down. He had the time of his life. He was arrested with force as soon as he stepped onto the south tower - the police did not take kindly to his taunts. The charge: trespassing and disturbing the peace. The sentence: perform a show for the kids in the park as penance.

There is something so life affirming about one man boldly walking into what should have been his demise. People responded to his act of daring as if he had given charity. In a way, he had. His performance was a gift to the world. What that gift was is as abstract as the reasons for the walk itself. Sometimes we don't know why something is beautiful, we just know it is. What Philippe Petit did was beautiful, a work of poetic grandeur. Why I do not know. Words do not exist to explain. I just know.