Encounters at the End of the World (2007)
DVD9 + DVD5 | ISO+MDS | NTSC 16:9 | 01:40:37 | 7,26 Gb + 3,62 Gb
Audio: English AC3 5.1/2.0 @ 448/224 Kbps | Subs: English SDH, French, Spanish
Genre: Documentary
DVD9 + DVD5 | ISO+MDS | NTSC 16:9 | 01:40:37 | 7,26 Gb + 3,62 Gb
Audio: English AC3 5.1/2.0 @ 448/224 Kbps | Subs: English SDH, French, Spanish
Genre: Documentary
Director: Werner Herzog
Werner Herzog, director of such acclaimed documentaries as Grizzly Man and Little Dieter Needs to Fly, offers his unique perspective on the South Pole in this film profiling the Antarctic community of McMurdo Station. Located on Ross Island, McMurdo Station is the headquarters of the National Science Foundation. Whether offering a detailed study of the unique survival training regimen that newcomers to McMurdo are obligated to endure or pondering the majestic beauty of a landscape where the discovery of three new species in a single day is something worth truly celebrating, Herzog boldly offers viewers the opportunity to visit one of the most inaccessible and awe-inspiring landscapes on the planet.
Herzog dedicated this film to Roger Ebert.
Armed with a collection of somewhat bizarre questions, and a promise not to make "another movie about penguins", director Werner Herzog travels to Antarctica, intent on documenting what he finds under the ice. He ends up on a military airplane which takes him to McMurdo Station, the American Antarctic research center. The station is located on the southern tip of Ross Island, on the shore of McMurdo Sound, and can support about 1200 people. Herzog interviews philosophers, bankers, and even other film-makers, all of who have fled their lives to live and work at McMurdo. He also talks to some professional scientists and survival instructors. Even with all of these interesting people living and working at McMurdo, Herzog is frustrated at how urban it is (he loathes the presence of yoga classes and ATM's), and is disappointed at how nice the weather is.
Thirty minutes into the film, he is thrilled at a bout of poor weather, and an opportunity to get out into the Antarctic wilderness. It is here that the film really picks up; Herzog's enthusiasm for everything that he discovered from here on out is infectious. From the amazing sounds of seals communicating ("it sounds like Pink Floyd" says one scientist) to active volcanoes to amazing undersea creatures, we discover one wonder after another, without a penguin in sight (mostly).
In "Encounters at the End of the World", Herzog is just as interested in the stories of the people who live in this barren if beautiful place as he is in the place itself. A woman who traveled from Ecuador to Peru in a sewer pipe, a native American with the hands of an Incan prince, and a man who keeps a rucksack full of survival gear packed and ready to travel at all times. The filmmaker seems to like these people, or at least to respect them, and to find them fascinating. He is a bit less respectful towards a man who has world records on several continents - for things like somersaulting and walking with a bottle on his head - and who wants to break a record in Antarctica next. Any frivolous record will do.
These interviews are mixed with Herzog's philosophical musings, plus spectacular footage of everything from ice plains the size of Texas, ice bergs larger than certain small nations, and - yes - one very confused and sad penguin. There is no narrative arc here, no beginning nor end, just a personal stream-of-consciousness travelogue about the many incredible things that Herzog encountered at the end of the world.
Read the title of "Encounters at the End of the World" carefully, for it has two meanings. As he journeys to the South Pole, which is as far as you can get from everywhere, Werner Herzog also journeys to the prospect of man's oblivion. Far under the eternal ice, he visits a curious tunnel whose walls have been decorated by various mementos, including a frozen fish that is far away from its home waters. What might travelers from another planet think of these souvenirs, he wonders, if they visit long after all other signs of our civilization have vanished?
Herzog has come to live for a while at the McMurdo Research Station, the largest habitation on Antarctica. He was attracted by underwater films taken by his friend Henry Kaiser, which show scientists exploring the ocean floor. They open a hole in the ice with a blasting device, then plunge in, collecting specimens, taking films, nosing around. They investigate an undersea world of horrifying carnage, inhabited by creatures so ferocious, we are relieved they are too small to be seen. And also by enormous seals who sing to one another. In order not to limit their range, Herzog observes, the divers do not use a tether line, so they must trust themselves to find the hole in the ice again. I am afraid to even think about that.
Herzog is a romantic wanderer, drawn to the extremes. He makes as many documentaries as fiction films, is prolific in the chronicles of his curiosity and here moseys about McMurdo, chatting with people who have chosen to live here in eternal day or night.
They are a strange population. One woman likes to have herself zipped into luggage, and performs this feat on the station's talent night. One man was once a banker and now drives an enormous bus. A pipefitter matches the fingers of his hands together to show that the second and third are the same length – genetic evidence, he says, that he is descended from Aztec kings.
But I make the movie sound like a travelogue or an exhibit of eccentrics, and it is a poem of oddness and beauty. Herzog is like no other filmmaker, and to return to him is to be welcomed into a world vastly larger and more peculiar than the one around us. The underwater photography alone would make a film, but there is so much more. Consider the men who study the active volcanoes of Antarctica, and sometimes descend into volcanic fumes that open to the surface, although they must take care, Herzog observes in his wondering, precise narration, not to be doing so when the volcano erupts. It happens that there is another movie opening today in Chicago that also has volcanic tubes ("Journey to the Center of the Earth"). Do not confuse the two. These men play with real volcanoes.
They also lead lives revolving around monster movies on video, and a treasured ice-cream machine and a string band concert from the top of a Quonset hut during the eternal day. And they have modern conveniences of which Herzog despairs, like an ATM machine, in a place where the machine, the money inside it and the people who use it, must all be air-lifted in. Herzog loves these people, it is clear, because like himself they have gone to such lengths to escape the mundane and test the limits of the extraordinary. But there is a difference between them and Timothy Treadwell, the hero of "Grizzly Man," Herzog's documentary about a man who thought he could live with bears and not be eaten, and was mistaken. The difference is that Treadwell was a foolish romantic, and these men and women are in this god-forsaken place to extend their knowledge of the planet and of the mysteries of life and death itself.
Herzog's method makes the movie seem like it is happening by chance, although chance has nothing to do with it. He narrates as if we're watching movies of his last vacation – informal, conversational, engaging. He talks about people he met, sights he saw, thoughts he had. And then a larger picture grows inexorably into view. McMurdo is perched on the frontier of the coming suicide of the planet. Mankind has grown too fast, spent too freely, consumed too much, and the ice cap is melting, and we shall all perish. Herzog doesn't use such language, of course; he is too subtle and visionary. He is nudged toward his conclusions by what he sees. In a sense, his film journeys through time as well as space, and we see what little we may end up leaving behind us. Nor is he depressed by this prospect, but only philosophical. We came, we saw, we conquered, and we left behind a frozen fish.
His visit to Antarctica was not intended, he warns us at the outset, to take footage of "fluffy penguins." But there are some penguins in the film, and one of them embarks on a journey that haunts my memory to this moment, long after it must have ended.
Special Features:
DISC ONE:
*The Film
Audio commentary by director Werner Herzog, producer Henry Kaiser and cinematographer Peter Zeitlinger
"Under the Ice" extra footage (35:39)
"Over the Ice" extra footage (10:29)
"Dive Locker" interview (18:07)
"South Pole Exorcism" short film (11:49)
"Seals and Men" extra footage (3:31)
Theatrical trailer (1:51)
DISC TWO:
Interview with Werner Herzog by Jonathan Demme (1:06:58)
All Credits goes to Original uploader.
No More Mirrors, Please.
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