Bear-enthusiast eerily speaks beyond the grave describing both his love and his odd troubling view of nature.
Asphalt versus the wild country – there are some beings who suffer and feel trapped in an urban setting whereas in nature they feel free and invincible. This is perhaps the only common trait that characterizes both the grizzly bear and animal documentary filmmaker Timothy Treadwell. In some areas, Grizzly Man shows the privileged relationship one man had with nature, but for the most part, the documentary steers clear from the romanticism of the connection of man with nature and enters into the complexities of this individual battled alcoholism and a failed acting career.
Werner Herzog’s latest documentary captures the man behind the image and by a collage of first-person interviews, narration by Herzog himself and countless hours of Treadwell’s own video footage, this doc pieces together a beyond the grave tribute which questions whether the person was a healthier individual in his part-time residency of the Alaskan turf National Park and Reserve in 2003 or whether the man lost sight of what his relationship was in similitude with this large beast with claws. Making the important point that the man behind the camera eventually becomes the star in front of it, Herzog’s journalistic approach to the subject matter (interviewing dozens of subjects closest to the beached-blond bear lover) also includes a psychological reading of the man.
Chronologically layered out, we learn that Treadwell’s Non-scientific connection with nature is awkward, not only does he cross the boundaries, but that his fascination with bears and his role as a so-called protector of them is questionable. Thanks to hundreds of hours of footage that prove as a precious resource – and the audio recordings that announces the tragic, but almost warranted end of both Treadwell and his girlfriend could have easily been used in a sensationalistic manner. Despite being highly critical of him, Herzog demonstrates compassion and respect for his subject matter by not including the sound footage and actually suggesting the destruction of it to Treadwell’s close friend.
The doc proves that it takes more than a David Letterman comment about a bear making a lunch out of Treadwell and easy point your finger theories to judge a person – Treadwell receives a full profile portrait. Treadwell alludes to and in a way, predicts his own death but it’s his obsession with this sanctuary from humanity and his reinvention of self that comes to surface. For many years now Herzog has taken to the documentary format with an enlightening form, this serves as both an excellent homage and a critical essay.
