Letters To Films

Dear Man on Wire,

So, you’re a documentary, but also an mediation on the results of obsession, and most interestingly an examination of the relationship between the driven visionary and those who enable him to fulfill his dream.

The basic story - the crazy frenchman walking a line strung between the two towers is planned and described in meticulous detail.  The false starts, the practicing in a field in France. This is the part you tried to sell as a “heist” like movie.  Fascinating though it is, that’s perhaps overselling it.

But the part that interested me is the emotional depth that becomes obvious as the various players are telling the story.  It’s rare that a true story can concentrate so much emotion into such a simple thing.  As one of the heroes of the piece says “something broke on that day”, and while appreciating the aesthetic spectacle of it all, the pain at losing a friend as clearly as if he had fallen never really leaves many of the tellers of the story.

You managed to remain deliciously ambiguous.  Is the american view of heroism, where all can be forgiven the charismatic single genius who manages to achieve his dream, while the necessary supporting cast are expelled from the country, the right one?  After all, as the poetic and philosophical walker Phillipe says, “you have to accept your success”.

Yet, even while giving Phillipe the last word, your whole arrangement seems to me to gently undercut what appears to be his eloquently described philosophy.   And how can you not, when it is apparent the heroism, sacrifice, organisational skill and love the supporting cast had for their friend, without which he could not have achieved anything.

To me, you are a gentle deconstruction of the myth of the single hero.

Thanks,

Someone who thinks Phillippe may have been better with his friends and no fame.