| | |  | CANADA | Home » » Grizzly Man | | | | | | | Description: | | In this mesmerizing new film, acclaimed director Werner Herzog explores the life and death of amateur grizzly bear expert and wildlife preservationist Timothy Treadwell, who lived unarmed among grizzlies for 13 summers. | | | Product Details: | | | Actors:
| Timothy Treadwell, Amie Huguenard, Werner Herzog, Carol Dexter, Val Dexter | | Director:
| Werner Herzog | | Format:
| Closed-captioned, Color, Dolby, DVD, Subtitled, Widescreen, NTSC | | Language:
| English | | Subtitle:
| Spanish | | Number of Discs:
| 1 | | Studio:
| Lions Gate | | Run Time:
| 103 minutes | | DVD Release Date:
| December 26, 2005 | | Average Customer Rating:
|  based on 436 reviews |
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| | | | Customer Reviews: | |
Average Customer Review:
 ( 436 customer reviews )
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Most Helpful Customer Reviews
272 of 297 found the following review helpful:
 Every bear for himself and God against all.Sep 01, 2005
By Miles D. Moore
The amazing thing about Timothy Treadwell was that he survived 13 summers in the Alaska wilderness, living among gigantic, ferocious grizzly bears, until one of them finally ate him. Treadwell was a combination environmental activist, societal rebel, filmmaker, nutcase and holy fool. In other words, he was not unlike Werner Herzog, director of "Grizzly Man," the brilliant new documentary about Treadwell's life and horrible death. Herzog is much more self-aware than Treadwell ever was, and has much more of a sense of reality and irony. But as a filmmaker drawn to impossible projects ("Fitzcarraldo," "Aguirre, the Wrath of God"), he feels a definite kinship to Treadwell, even as he's appalled by Treadwell's egregious lapses of judgment. Treadwell shot more than 100 hours of film of himself and his beloved grizzlies, and Herzog culls the best of that film for "Grizzly Man." In his own film footage, Treadwell showed himself consistently to be an arrested adolescent, conflating the terrifying behemoths he lived among with his collection of teddy bears. (He speaks constantly of the mortal danger of living among grizzlies, but never quite seems to believe his own words.) Yet he also captured some of the most amazing nature scenes ever recorded, and Herzog respects him for that. (In his narration, Herzog also expresses great tenderness toward Amie Huguenard, the woman who loved Treadwell, followed him to the wilderness despite her fear of bears, and shared his horrible fate.) Whereas Treadwell sought order in nature, and believed the grizzlies loved him as much as he loved them, Herzog sees nothing in Treadwell's story except the workings of a chaotic universe sending one more dreamer to his doom. But because Treadwell's dreams were so outsized, Herzog sees him as a brother. So, thanks to Herzog, do we.
40 of 42 found the following review helpful:
Mr. Chocolate is a CarnivoreFeb 26, 2006
By The JuRK
I liked this movie but I have to agree with all the reviews (who rate it both good and bad) that say Timothy Treadwell is emotionally and mentally ill. It's true: the most amazing thing about his story was that he wasn't killed and eaten any sooner.
I sympathize with the family and friends for their loss, but I can't gloss over what a crazy, grandstanding and ultimately suicidal "mission" this was. He wasn't exactly Diane Fossey, who literally fought poachers off the mountain gorillas in Rwanda--these bears were in a state park.
Absolutely NOTHING in science or life tells Treadway or anyone else that it's safe to live with bears. He ventures into the wild and lives in a constant state of delusion, even as the bears kill and eat each other, his cute little foxes, the adorable little cubs. As Herzog points out, there's nothing to support Treadway's fantasy world of harmony in the bloody Alaskan wilderness.
GRIZZLY MAN is a fascinating story but I have to agree with the reviews which compare the interviews with BEST IN SHOW or A MIGHTY WIND.
(If you were fascinated by this story, check out the book INTO THE WILD, about another young man who disappeared and died in the Alaskan bush in an attempt to live off the land. GORILLAS IN THE MIST is both a book and a movie about Diane Fossey, another controversial person who fought on behalf of endangered animals).
31 of 35 found the following review helpful:
Treading Well Beyond Invisible WiresAug 27, 2005
By boldsworthington
This is one of the most riveting documentaries of recent times. And only Werner Herzog could have made its many cogs mesh so tellingly and troublingly. By chronicling Timothy Treadwell's life and providing sympathetic but often-corrective commentary, Herzog shows how one man's benighted quest led him to filter out unpleasant facts in favor of self-aggrandizing fancies about his role in the scheme of things. (Treadwell not only looks a bit like the late John Denver but also seems plagued by the same egotistical drive to play the high-profile hero.)
Through Treadwell's footage as well as Herzog's own well-chosen interview sequences, we see the man whole: his naïveté and childlike delight, his folly, his self-dramatization, and the inner madness for which the natural world was perhaps a convenient but ultimately fatal escape hatch.
As soon as Treadwell styles himself the "protector" of millions of acres of Alaskan wilderness where grizzly bears are the top predator, we know that this man is headed for a horrid end. In his hyperbolic, self-indulgent protestations of love and protection toward the land and its creatures, we hear the unmistakable accent of a megalomaniacal solipsist -- a man whose magical thinking allows him to live in a "peaceable kingdom" where he can rewrite the rules of nature and reprimand her creatures for being what they are. As King Lear would say, "That way madness lies."
It is one of the film's many ironies that when Treadwell actually comes upon what he assumes to be bear poachers, he consciously chooses to remain hidden. Apparently, he planned to report the incident: on camera he fastidiously notes the time (down to the 18th second!) when the filming took place. But one can only conclude that when it comes to real cases, the "Great Protector" is nothing more than the "Great Pretender."
To his credit, Treadwell and the photographic assistant he'd prefer us to forget about (to bolster his self-made-man-from-Australia myth) captured many extraordinary features of Alaskan wildlife that we might otherwise never see. At the same time, however, by becoming a leading character in the show, Treadwell may also be unwittingly falsifying what we see: is this how the animals would behave in the presence of chroniclers to whom they were *not* habituated or whose presence they could *not* detect? Maybe we need both kinds of documentation.
Perhaps most striking of all is the paradoxical sweet-and-sour view of nature that Treadwell repeatedly displays -- here infantilizing some of the most ferocious carnivores on the continent (often giving them cartoonish monikers like "Mr. Chocolate," as if naming were taming), there acknowledging the deadly danger of what he is doing. Both sides of the paradox fuel Treadwell's self-aggrandizement: he can treat these creatures like oversize pets while reveling in whatever special personal charm keeps him safe. In reality, he was just supremely lucky that before October 2003, he had encountered no bear desperately hungry enough to see him and girlfriend Amie Huguenard as a two-course meal. Treadwell may have died doing what *he* wanted to do (and he may well have wanted to die in just this way), but we have good reason to doubt Amie's assent to a comparable fate as the desirable way to go.
For me at least, the scene that most tellingly sums up Treadwell's faulty vision finds him crouched in a tent during a violent rainstorm. (He has, to his mind, virtually summoned up the deluge by registering a near-infantile tantrum of protest with all the higher powers, so that the rivers may flow abundantly and "his" starving bears may catch their fill of fish. Curiously, the same man who bewails cannibalized bear cubs and dead little foxes shows no sympathy for the salmon that will get crushed alive in the mouths of bears -- yet another example of Treadwell-style tunnel vision.) We soon see him snuggling a favorite toy from childhood that had first appeared only moments earlier during an interview with his grieving parents. And whaddya know? It's a teddy bear, that adorable stuffed animal that gives us all our first false lesson in bear lore. I suspect that Treadwell never fully accepted the shocking difference between real bears and their childhood impostors. Decades ago at the Denver Zoo, I saw a sign that offered a curt corrective to the Great TB Fallacy: "All bears are dangerous." You'd better believe it, Winnie-the-Pooh!
I think part of Treadwell believed that, but a stronger part didn't want this inconvenient fact to block his irrational impulse to "domesticate" an untamable force of nature to which native people (who have lived in bear country for millennia) have the good sense to give a wide berth of awe and respect. Neither boundless optimism nor American pioneering spirit nor Edenic wishful thinking can trump nature's rules of engagement. The natural world is a dense network of largely invisible trip wires: we humans have no foolproof sense for detecting whether we have transgressed another creature's invisible perimeter-alert system before we're too far inside to escape its tooth and claw. Nature responds simply and effectively to foolhardiness: her creatures devour the unwary and the unwise.
At one point during a manic tirade against the National Park Service, Treadwell screams, "Animals rule!" -- or something to that effect. Yes! But for all his immersion in the wild, the self-absorbed Treadwell never grasps the nature of Nature. Where wild animals rule, tread well and wisely -- or not at all.
58 of 69 found the following review helpful:
 The Life And Death Of A NarcissistSep 05, 2005
By Chris Luallen
The primary subject of this documentary is Timothy Treadwell, a man who chose to live among grizzly bears for 7 summers in the Alaskan wilderness before finally being mauled and eaten.
Before seeing this movie, I expected Treadwell to come across as a dedicated ecologist who had perhaps developed an overly romantic view of the the natural world. Instead he turns out to be an arrogant, self-absorbed wanna-be actor who seemed to be more interested in creating a public persona of "mythical proportions" than actually doing what was in the best interests of the bears themselves.
The film provides ample biographical information on Treadwell. He began as a kid from Florida who suffered his first major setback when he lost his college scholarship for diving due to a back injury. He then went to Hollywood to pursue an acting career. But apparently went into a downward spiral of drinking and drugs after losing out to Woody Harrelson for a role on the TV show "Cheers". Treadwell also appears to have manic-depression or some other serious but untreated mood disorder. This is reflected in his own film footage where he adapts an highly annoying "character voice," perhaps intended to appeal to children. Treadwell also goes on at great length about his problems with women, his insecurities, his "greatness", and various other rants and raves. The disturbing point being that he usually places himself, rather than the bears he claims to be researching, at the center of attention.
The high point of this movie is definitely the beautiful scenes of the Alaskan wilderness. The director Werner Herzog also creates an intriguing portrait which caused me to think about the underlying psychological reasons for the bizzare actions of the clearly troubled Treadwell. But ultimately Treadwell's own narcissism and foolishness make his unfortunate ending seem like the fulfillment of a "death wish" rather than the heart moving loss of an innocent victim.
26 of 29 found the following review helpful:
A work of profound cinematic depth, worthy of repeated viewingsDec 05, 2005
By Wayne W.
"the guy who tears your tickets"
I must admit that my first reaction to this film was not immediately positive; Herzog's presence seemed overbearing and intrusive, and Treadwell himself was a figure so tragic as to be somewhat alienating. And yet I found that, days later, I found I was still thinking about it, still mesmerized by the questions it raised. How truly unsympathetic was Treadwell? Should I be somewhat jealous of him, for all the joy and depth of experience he found in his work? I have, as few have, found little in life so enriching and gratifying as what Treadwell appeared to find in the wilderness; are thirteen summers of that worth an early, terrible end?
So I saw the film again; I recommend that others do the same, if they find themselves at all intrigued after the first viewing. And then I saw the film again, and again. What I found with time -- as I let it develop into an obsession -- was an incredibly complex artwork, capable of provoking rich and sometimes startling meanings.
At its core, I now understand Grizzly Man to be a document of the desperate search for kinship in an alienating world; an insight into what happens when, failing to find an object which fulfills our desires, we resort to projecting our desires onto whatever might hold them. For as Treadwell imagines the bears to be his companions, so too does Herzog attempt to imagine Treadwell as a filmmaker of his own lineage, a comrade in the struggle to capture beauty in a wild and unforgiving universe. Intentionally or not, Herzog's intrusion into this documentary comes to parallel Treadwell's own intrusion into the bears' wild habitat; and we come to realize that the strange and austere beauty he finds in Treadwell's footage is more Herzog's invention than it is a product of the man who captured the images.
One reviewer has noted the failure of this film to acknowledge the "culture of artifice" which drove its participants to such extremes. I would argue, however, that both this phenomenon and the underlying anomie are central to the film; and that acknowledging them would only serve to undermine their tension and delegitimize them as themes, for to do so would require Herzog to depersonalize them, to suppose that he was somehow outside of or above their influence, and in doing so allow the audience to treat them as foreign objects as well. Instead, we come to recognize them empathically, and are left on our own to decide their personal meaning.
In short, this film manages to span the full spectrum between fascination with the other and deepest introspection. And that versatility is a rare quality, truly deserving of five perfect stars.
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