Though we know how it ends, it unfolds with suspense. And though it lacks any discussion of the towers' destruction, it succeeds as a tribute to their birth.
Man On Wire (2008)
Tomatometer
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Reviews Counted:141
Fresh:141
Rotten:0
Average Rating:8.4/10
Consensus: James Marsh's doc about artist Phililppe Petit's artful caper brings you every ounce of suspense that can be wrung from a man on a (suspended) wire.
Rated: PG-13 [See Full Rating] for some sexuality and nudity, and drug references.
Runtime: 1 hr 34 mins
Genre: Musical & Performing Arts
Theatrical Release:Jul 25, 2008 Limited
Box Office: $2,600,296
Synopsis: James Marsh's dazzling, invigorating documentary MAN ON WIRE tells the story of a truly inspiring figure. In the early 1970s, a fiery young Frenchman named Philippe Petit wanted to shake up the... James Marsh's dazzling, invigorating documentary MAN ON WIRE tells the story of a truly inspiring figure. In the early 1970s, a fiery young Frenchman named Philippe Petit wanted to shake up the world. When he saw the World Trade Center being built in New York City, he found his mission. Petit was a trained high wire walker, and his goal was to set up a wire between the two towers and give the world a show it could never have expected. As is often the case with these endeavors, the actual high-wire walking was the easiest part of the plan. For nearly seven years, Petit worked on the project, recruiting associates who supported him every step of the way. Finally, after eight months in New York, the day came when Petit and his cronies jumped into action. This wasn't easy. They had to find a way to sneak past security and make their way to the top of the towers with heavy equipment, at which point they had to battle the elements to install the wire. After many close scares, the time came for Petit to realize his dream--and the rest, as they say, is history. Marsh crafts MAN ON WIRE like a heist film, presenting rare and fascinating footage of the actual event alongside flawless reenactments and modern-day interviews with the participants. The result is an immersive, emotionally gratifying motion picture, made all the more stimulating by Michael Nyman's electrifying score. [More]
Director: James Marsh
Director: James Marsh
Producer: Simon Chinn
Composer: Michael Nyman
Studio: Magnolia Pictures
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Release:
Dec 9, 2008
Reviews for Man On Wire
The attacks of 9/11 are never mentioned, and rightly so – this is a film about the life of the towers, not the death. But their inevitable destruction gives the movie a poignant weight, and reminds us of a time when they weren’t morbid geopolitical symbol
What ultimately reverberates is [the film's] potent central association between Petit's endeavor and the Twin Towers' erection.
The details of how the event was planned and staged are fascinating, but a crucial element missing from the film is good cinematography of the actual event.
It's a story worth telling, yes -- but after 90 minutes, it's hard not to wonder if the storyteller can talk about anything else.
What Marsh shows us is Petit's childlike innocence and almost transcendental faith: faith in himself, faith in his leadership abilities, faith that the escapade would be a success, and faith that he would not fall.
James Marsh's Man on Wire erupts onscreen as one of the most wildly entertaining docs of recent years.
Gripping stuff, for sure, but you may fall asleep waiting for that big walk, while the juicy stuff – a fall-out between Petit and his co-conspirators – is glossed over at the end.
The astonishing tale, told like a well-paced heist movie, is illustrated by film footage and breathtaking photographs taken by the group.
The simplicity of Philippe's vision is intoxicating, as is his self-assurance.
Exhilarating... a crowd-pleaser in such witty, poetic ways that even an art-house curmudgeon couldn't deny its tidy vigor.
The story that looks back at the incident plays like a great caper film. The operation to get into the tower and string the wire was a combination of ingenuity, planning and exquisite timing since the top of the building was still a construction site.
Much of Marsh's focus is on the practical details and build up of the caper, but the last third stretches out for poetic resonance.
Part re-enactment, part archival home movie, part historical and part social document, the subject is ideal as a story more fantastic than fiction
Beautifully put together, it is every bit as suspenseful as even the best Hollywood heist films, which is even more remarkable when you consider that we know, from the first frame, that Petit will survive.
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