The documentary Man on Wire does nothing to dispel the notion that creativity is often accompanied by more than a little “madness”. However, while Philippe Petit, the man who walked between the since departed World Trade Centre (WTC) on a high wire on 7 August 1974, comes across as rather dotty and excitable while relating the story of his deed, he displayed an extraordinary level of concentration and calm while engaging in his art. Petit did allow his “sphinx-like” countenance to break during his 45-minute stint between the Twin Towers when he spotted some police officers standing at the top of one of the Towers waiting to arrest him (Petit smiled). Man on Wire is an entertaining, thrilling and sometimes funny look at a man who chose to infilitrate and “conquer” the WTC partly for the purposes of creating something beautiful. The image of Petit lying on the tightrope while holding his balancing bar isn’t just stunning, it has spiritual connotations. Also reminiscing about Petit’s notorious adventure is a band of accomplices, including a pot-smoking musician, a relaxed Australian and a romantic partner who was in no position to pursue her own dreams whilst in a relationship with such a focussed man. Some of these people stayed with Petit until the deed was done and others (unsuprisingly) decamped earlier on. Alas, the soundtrack to the film is occasionally intrusive, with Michael Nyman seemingly recycling some of the pieces he composed for The Piano. Nevertheless, Man on Wire is an inspiring film that manages to touch the soul.
A film well worth seeing in a cinema. My review and personal reminiscence of the twin towers is at Man on Wire: Twin Towers Tightrope
Darlene, I really enjoyed this film too. It uses archival footage very well.
Great photos on your site, Kevin. Thanks for linking to them.
That’s true, Fine. I have to say I also enjoyed the re-enactments, especially when they were all huddled together under the tarpaulin waiting for the guard. There was something almost comical about it.
Those afraid of heights might find the film a bit of a challenge.
And just what is wrong with being a little mad?
Good question, Charles, although I wasn’t making a value judgement about being “mad”. There’s a time to be a little mad and a time to be practice mindfulness, it could be argued. Petit’s art is a great metaphor for life really. He concentrates deeply to take each step while on the highwire, which allows him to cross safely.
If he was as excitable up there on the tightrope as he seemingly is on land, well, that potentially could be dangerous.
Whether one can be a little mad and mindful at the same time is a difficult question to answer, however, Petit’s zest for life and, yes, his little bit of “madness” is quite intoxicating. It makes him stand out from the pack.
Off-topic, but the upcoming Leonard Cohen shows were mentioned by a kind reader on another thread.
Here’s a link that details Cohen’s Australian shows:
http://www.ticketmaster.com.au/artist/733217/?camefrom=AFF_AU_FB_ONSALEMUSIC
It seems that people will be able to enjoy a nice drop of wine while listening to Leonard.
“It seems that people will be able to enjoy a nice drop of wine while listening to Leonard.”
Last time he toured the world Leonard acquired an unquenchable thirst for a very fine red wine, himself. God love his little Zen sox and hope he does “Dear Heather” with the zimmer frame on stage.
A fascinating film, no doubt, but I’ve become a bit obsessed with the soundtrack.
Curious that you mention “Nyman recycled…”. Don’t be blaming Mike. The music supervisor has used hunks of previously used music from other films – lots of Nyman, the usual Erik Satie, and others whose names escape me.
I can’t think of another film that has used wholesale amounts of signature music from well established films the way that M on W has.
Is it clever, slack, or just plain wrong? And just to be nitpicketty all the way, I thought the Nyman was over-used and too noisy.
The photo shows just how close the towers were to one another, and how high they were too.
I suspect many LP readers will be heading off for some Leonard and wine.
It’ll be great to see him in person. That film (I’m Your Man?) was okay, but the mere presence of Bono and The Edge tainted it. Hilarious that they were talking about humble Leonard is while they were standing there in their rock star clobber.
Thanks, viacollins. It was the Nyman stuff that really really stood out, and not for good reasons really. Others may disagree. Apologies to Mr Nyman.
It does, Lyn. Just so high and so close. Blows the mind that picture.
Centre block, five rows from the front, Leconfield McLaren Vale, Jan 26.
Joe2, in the many Youtubes I have watched there has been no sighting of a zimmer frame. Only the staggeringly gorgeous Hawaiian girlfriend and backup singer, and the gazillions of adoring female fans.
Right, PC has got her ticket.
Here’s a link to a Leonard YouTube:
http://au.youtube.com/watch?v=_drEFOaPaK8
Now if only Joni would tour.
Or they could tour together!
I enjoyed ‘Man on Wire” immensely, but I’ve no idea why. Characters for whom I wouldn’t normally have a lot of empathy doing a dangerous stunt for no discernible benefit and I suspect a high degree of risk to people walking underneath. A lousy soundtrack. Nor should the risk factor have made it exciting since Petit is obviously alive to tell the tale. And as a reflection on the proper place for risk in our lives it’s pretty trivial compared with Winton’s ‘Breath’. But there you go – I thought it was terrific anyway. Just another decision made by the non-rational part of my brain.
Ahhh, never got around to reading Winton’s book.
That’s a great synopsis of the film and the appeal of it, Jenny. Soundtrack got pretty silly at times (that heist music was rather dopey).
The thing that intrigued me the most was the way Petit was able to shift from one mind state to another in such a short period of time, and the way he was able to so fully concentrate while on the tightrope.
I’m in the midst of listening to a download of a book by Jon Kabat-Zinn about “mindfulness” so I was intrigued as to what that mean in relation to Petit’s deed.
The view up there was pretty stunning. It was also interesting to consider that these people had managed to breach WTC security (this was interesting in relation to 9/11 and earlier attackes on the Towers).
I think the non-rational part of our brain makes most of our decisions. But maybe that’s revealing too much about myself. I think the fact that he was doing it for no reason is the point. In that way, it’s about pure joy and daring. But, I would have been one of his helpers who ducked out at the last minute once the reality of the situation really sunk in. Interestingly, the ‘Australian’ Mark is Mark Lewis who directed ‘Cane Toads: An Unnatural History’. For me, the film also had appeal as a nostalgia piece about less paranoid times when people could get away with doing such things and be celebrated for it.
And yes, the music was heavy-handed, but I think that’s the case for many films today. I think it comes from doubting your material a bit and so trying too hard to tell the audience what to feel.
Ahhh, that’s interesting about Mark Lewis.
That’s true about the reason music is used in such a way. Like they can’t trust the audience to be thrilled or elated or sad without it. They underestimate us, I think.
Maybe there’s a bit of Petit-is-everyman in there, particularly for his US viewers, most of whom would be loosedly described as “middle class”, the people to whom social and financial risk has been shifted. Every morning they get up and go to work (now with their salami sandwich in a bag, as Garrison Keillor says). They are all one job loss, one credit card, one medical catastrophe away from penury, but they can’t afford to look down, because then they’d wobble. Here in Australia we are slightly more secure, but only slightly.
That’s a nice metaphor, Helen. We’re all on he tightrope, not daring to look down. The difference is that he loved doing it.