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Life imitates art, they say, and there have been enough horror films based on the found-footage scenario–from The Blair Witch Project to Cloverfield–for the same scenario to work its way into the real world. But the footage recovered from the bodies of bear enthusiast Timothy Treadwell and girlfriend Amie Huguenard–which includes the sounds of their gory final moments–isn’t horrific, but the basis of an affecting portrait of a troubled and gentle man’s retreat into nature. For over five years, Timothy Treadwell toured amongst a group of grizzlies in the wilds of an Alaskan national park, filming them closely with an eye for natural beauty. But director Werner Herzog–with typical humanism–ignores the nature to focus on Treadwell, re-cutting his frequent monologues to camera to show an increasingly paranoid fantasist who felt persecuted by the park authorities and had a neurotic habit of giving the bears cuddly human names. Treadwell withdraws into a citadel of self-inventions–recasting himself as an orphaned Australian, a Hollywood contender (second in line, it’s claimed, to play Woody in Cheers) and a Byronic eco-warrior, projecting his new-age view of nature onto the Alaskan wilderness with tragic results for him and his girlfriend. But Herzog remains sympathetic to Treadwell, saluting him as a film-maker and reflecting on the sad and subconscious choices of men for whom society is unbearable. His essayistic film restores meaning and dignity to Treadwell and Huguenard’s deaths.
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