A New Kind of Television

[Varin]

James Marsh’s “Man on Wire” captures the true spirit of a documentary: it encapsulates the bold and introspective modes of storytelling which typically characterize the dramatic fiction film genre, effectively making the narrative at hand all the more compelling by challenging us to resist the sensationalism of Petit’s walk and instead examine the moral ambiguities and artistic ledges of what would otherwise be passed off as a “publicity stunt”. Our attention is immediately gauged by the clever use of a black and white flashback which vicariously imparts the desperation and vague perplexities of the planning behind a scheme of such immense magnitude and profound symbolism. Surreptitious music heightens the tension which is achieved to perfection with fast-paced editing. It is worth noting the decision to feature television reports of President Richard Nixon denying his criminal actions only days before his resignation; all the while we see members of Petit’s crew making clandestine efforts to prepare. The juxtaposition achieved here is phenomenal. Clearly there is a distinction between the public perception of a phenomenon and the hidden developments behind such affairs. Petit’s performance is without a doubt broadcasted far and wide much like a televised program, but Philippe’s work merely prompts subjective analysis without the need for impassioned rhetoric. The need for humility and reservation becomes a bold message as the narrative unravels. Indeed, it is no mistake that Petit’s verbal account and the selective revealing of his crew’s behavior on the morning of August 6th, 1974 are reminiscent of the classic film heist. The mysterious aura that envelops these events is intriguing despite our knowledge of the end result; so creative is the process of conceiving, planning, and executing the act that dramatic irony is suspended in favor of emotional anticipation.

Just as soon as we are to witness the seminal wire walk the film cuts to years in the past when Petit’s early intuitions and untapped ambition fuel his inner drive towards the most majestic and surreal challenges. Every waking moment is relished and every possibility is yearned in Philippe’s journey. It is remarkable to think how invested he was in this project even prior to the construction of the World Trade Center. His rampant curiosity and unwavering optimism became more refined as the towers progressed towards their unprecedented status and unconquered proportions. Petit’s frequent travels between Europe and New York, coupled with his subtle acknowledgment of risk, qualify his famous walk beyond any justice that could be achieved by public scrutiny and political perceptions. Although a foreigner, Philippe transcended the confines of national borders and identities and captured a moment for New Yorkers, who from all walks of life, failed to comprehend the undiscovered brilliance of what was always among them but went unnoticed. The lack of grandiose motives and absence of an indelible universal message was shown to be something that equally befuddled and dumbfounded the public, whose understanding of Petit’s act could only parallel the innocent nature of the police record, for which the documentary itself is named. The soft and tender music that plays behind the serene still photography as we are finally granted a view of the walk unites multiple realities, perhaps most notably the natural spectacle at hand with the newly gained appreciation of the work and untold story behind the art.

[Author]

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