Nanook of the North

Template:Short description Template:Use mdy dates Template:Use American English Template:Infobox film Template:Anthropology of art Nanook of the NorthTemplate:Efn is a 1922 American silent film that combines elements of documentary and docudrama/docufiction, at a time when the concept of separating films into documentary and drama did not yet exist.<ref name="Documentary history">Template:Cite web</ref><ref>Nanook of the North incorporates many docudrama elements, including the "casting" of locals into fictitious "roles" and family relationships, as well as anachronistic "staged" hunting scenes. It is not a docufiction (See: List of docufiction films)Template:Citation needed</ref> In the tradition of what would later be called salvage ethnography,<ref>Template:Cite journal</ref> the film follows the struggles of the Inuk man named Nanook and his family in the Canadian Arctic. It is written and directed by Robert J. Flaherty, who also served as cinematographer, editor, and producer.<ref name="Robert Flaherty credits">Template:Cite web</ref>

Some have criticized Flaherty for staging several sequences,<ref>Template:Cite web</ref> but the film has been described by Roger Ebert as "stand[ing] alone" among Flaherty's films "in its stark regard for the courage and ingenuity of its heroes."<ref name= Ebert /><ref>Template:Cite web</ref>

It was the first feature-length documentary to achieve commercial success, proving the financial viability of the genre and inspiring many films to come.

In 1989, Nanook of the North was among the first group of 25 films selected by the Library of Congress for preservation in the United States National Film Registry for being "culturally, historically, or aesthetically significant".<ref>Template:Cite news</ref><ref>Template:Cite web</ref>

Plot

File:Robert Flaherty Nyla 1920.jpg

Nyla, wife of Nanook

File:Nanuk Port Harrison 1920.jpg

Nanook (Allakariallak),<ref>Template:Cite web</ref> 1920

The documentary follows the lives of an Inuk, Nanook, and his family as they travel, search for food, and trade in the Ungava Peninsula of northern Quebec, Canada. Nanook, his wife Nyla and their family are introduced as fearless heroes who endure rigors no other race could survive. The audience sees Nanook, often with his family, hunt a walrus, build an igloo, go about his day, and perform other tasks.

Production

Development

In 1910, Flaherty was hired by Sir William Mackenzie as an explorer and prospector searching for iron ore and other mineral deposits along the Hudson Bay for the Canadian Northern Railway.<ref name=":0" /><ref name=":1">Template:Cite web</ref> Learning about the lands and people there, Flaherty decided on his third expedition in 1913 to bring with him a glass-plate still camera and movie camera as well as a small portable printer and processor. Knowing nothing about film, he took a three-week course on the elementary techniques of filmmaking and film processing with the Eastman Kodak Company in Rochester, New York.<ref name=":1" /><ref>Template:Cite web</ref>

Filming

Using a Bell & Howell camera, a portable developing and printing machine, and some lighting equipment, Flaherty spent 1914 and 1915 shooting hours of film of Inuit life. By 1916, Flaherty had enough footage to begin evaluating screenings and was met with wide enthusiasm. However, in 1916, Flaherty dropped a cigarette onto the original camera negative (which was highly flammable nitrate stock) and lost 30,000 feet of film.<ref name=Barnouw>Template:Cite book</ref> With his first attempt ruined, Flaherty decided to not only return for new footage, but also to refocus the film on one Inuit family as he felt his earlier footage was too much like a travelogue. Spending four years raising money, Flaherty was eventually funded by French fur company Revillon Frères and returned to the North and shot from August 1920 to August 1921. As a main character, Flaherty chose the celebrated hunter of the Itivimuit tribe, Allakariallak. The full collaboration of the Inuit was key to Flaherty's success as the Inuit were his film crew and many of them knew his camera better than he did.<ref name=Barnouw1>Template:Cite book</ref>

Building of the igloo

The building of the igloo is one of the most celebrated sequences in the film, but interior photography presented a problem. Building an igloo large enough for a camera to enter resulted in the dome collapsing, and when they finally succeeded in making the igloo it was too dark for photography. Instead, the images of the inside of the igloo in the film were actually shot in a special three-walled igloo for Flaherty's bulky camera so that there would be enough light for it to capture interior shots.<ref name=Barnouw2>Template:Cite book</ref> This instead is what Flaherty said: "The average Eskimo igloo, about 12 feet in diameter, was much too small. On the dimensions I laid out for him, a diameter of 25 feet, Nanook and his companions started to build the biggest igloo of their lives. For two days they worked, the women and children helping them. Then came the hard part—to cut insets for the five large slab-ice windows without weakening the dome. They had hardly begun when the dome fell into pieces to the ground. 'Never mind,' said Nanook, 'I can do it next time.' For two days more they worked, but again with the same result; as soon as they began sitting in the ice windows their structure fell to the ground. It was a huge joke by this time and holding their sides they laughed their misfortune away. Again, Nanook began on the 'big Aggie igloo', but this time the women and children hauled barrels of water on sledges from the waterhole and iced the walls as they went up. Finally, the igloo was finished, and they stood eyeing it as satisfied as so many small children over a house of blocks. The light from the ice-windows proved inadequate, however, and when the interiors were finally filmed the dome's half just over the camera had to be cut away, so Nanook and his family went to sleep and awakened with all the cold of out-of-doors pouring in."<ref>Robert Flaherty Talking," in Cinema 1950, edited by Roger Manvell (London: Pelican, 1950) 18–19.</ref>

Controversy

File:Tournage de Nanook of the North 1922.jpg

Filming of Nanook of the North in 1922

Hoax claims

"Nanook" was in fact named Allakariallak (Template:IPA); Flaherty chose "Nanook" ("polar bear" in Inuktitut mythology) because he felt its seeming genuineness made it more marketable.<ref>Template:Cite book</ref> The "wife" shown in the film was not really his wife. According to Charlie Nayoumealuk, who was interviewed in Nanook Revisited (1990), "the two women in Nanook – Nyla (Alice [?] Nuvalinga) and Cunayou (whose real name we do not know) were not Allakariallak's wives, but were in fact common-law wives of Flaherty."<ref>Template:Cite book</ref> And although Allakariallak normally used a gun when hunting, Flaherty encouraged him to hunt after the fashion of his recent ancestors in order to capture the way the Inuit lived before European colonization of the Americas. Flaherty also exaggerated the peril to Inuit hunters with his claim, often repeated, that Allakariallak had died of starvation less than two years after the film was completed, whereas in fact he died at home, likely of tuberculosis.<ref>Pamela R. Stern, Historical Dictionary of the Inuit (Lanham, MD:Scarecrow Press, 2004), p. 23.</ref><ref>Robert J. Christopher, Robert and Frances Flaherty: A Documentary Life, 1883–1922 (Montréal and Kingston: McGill-Queen's University Press, 2005), pp. 387–388</ref>

Furthermore, it has been criticizedTemplate:By whom for portraying Inuit as without technology or culture, and situates them outside modern history. It was also criticized for comparing Inuit to animals. The film is considered by some to be an artifact of popular culture at the time and also a result of a historical fascination for Inuit performers in exhibitions, zoos, fairs, museums and early cinema.<ref>Template:Cite book</ref>

Flaherty defended his work by stating, "one often has to distort a thing in order to catch its true spirit."<ref>Template:Cite journal</ref> Later filmmakers have pointed out that the only cameras available to Flaherty at the time were both large and immobile, making it impossible to effectively capture most interior shots or unstructured exterior scenes without significantly modifying the environment and subject action.<ref>Molly Dineen and AA Gill in BBC Archive on 4: The Camera Never Lies, 2016</ref>

Visit to the trading post

In one scene, Nanook and his family arrive in a kayak at the trading post. Going to trade his hunt from the year, including the skins of foxes, seals, and polar bears, Nanook comes in contact with white people and there is an amusing interaction as the two cultures meet. The trader plays music on a gramophone and tries to explain how a man 'cans' his voice. Bending forward and staring at the machine, Nanook puts his ear closer as the trader cranks the mechanism again. The trader removes the record and hands it to Nanook who at first peers at it and then puts it in his mouth and bites it. The scene is meant to be a comical one as the audience laughs at the naivete of Nanook and people isolated from Western culture. In truth, the scene was entirely scripted and Allakariallak knew what a gramophone was.<ref name=Rothman>Template:Cite book</ref>

Hunting of the walrus

It has been noted that in the 1920s, when Nanook was filmed, the Inuit had already begun integrating the use of Western clothing and were using rifles to hunt rather than harpoons,<ref name=":0">Template:Cite web</ref> but this does not negate that the Inuit knew how to make traditional clothing from animals found in their environment, could still fashion traditional weapons and were perfectly able to make use of them if found to be preferable for a given situation. Template:Blockquote

Reception

As the first "nonfiction" work of its scale, Nanook of the North was ground-breaking cinema. It captured many authentic details of a culture little known to outsiders, and it was filmed in a remote location. Hailed almost unanimously by critics, the film was a box-office success in the United States and abroad. In the following years, many others would try to follow Flaherty's success with "primitive peoples" films.<ref name=Barnouw3>Template:Cite book</ref> In The Nation in 1946, critic James Agee wrote: "Nanook has a beautiful simplicity, cheer, and hardiness which no subsequent documentary has improved on and which most have lost or perverted."<ref>Agee, James - Agee on Film Vol.1 © 1958 by The James Agee Trust</ref> In 2005, film critic Roger Ebert described the film's central figure, Nanook, as "one of the most vital and unforgettable human beings ever recorded on film."<ref name= Ebert /> In a 2014 Sight and Sound poll, film critics voted Nanook of the North the seventh-best documentary film of all time.<ref name="BBC-doc">Template:Cite news</ref>

On review aggregator website Rotten Tomatoes, the film holds an approval rating of 100% based on 30 reviews, with an average rating of 8.68/10. The site's critics' consensus reads: "An enthralling documentary and a visual feat, Nanook of the North fascinates with its dramatic depiction of life in an extremely hostile environment."<ref>Template:Cite web</ref>

Home media

In 1999, Nanook of the North was digitally remastered and released on DVD by The Criterion Collection. It includes an interview with Flaherty's widow (and Nanook of the North co-editor), Frances Flaherty, photos from Flaherty's trip to the arctic, and excerpts from a TV documentary, Flaherty and Film.<ref>Template:Cite web</ref> In 2013, Flicker Alley released a remastered Blu-ray version that includes six other arctic films.

The full film

Film

The 1923 silent film comedy A Tough Winter parodied Nanook of the North.<ref>Template:Cite news</ref><ref name="TheFilmDaily">Template:Cite news</ref> It was produced by Hal Roach and directed by Charley Chase, and starred Snub Pollard with Marie Mosquini and James Finlayson.<ref name="TheFilmDaily" /><ref>Template:Cite web Template:Cbignore</ref>
Kabloonak is a 1994 film about the making of Nanook of the North. Charles Dance plays Flaherty and Adamie Quasiak Inukpuk (a relative of Nanook) plays Nanook.<ref>Template:Cite web</ref>

Television

In episode 2 of the 2015 series Documentary Now! (IFC), "Kunuk Uncovered" is a mockumentary parodying the 1990 documentary about the making of Nanook of the North titled Nanook Revisited, especially addressing the staging and manipulation of the original documentary.<ref>Template:Cite web</ref>
An episode of the Cartoon Network series Evil Con Carne is titled "No No Nanook", referencing both this film and the play No, No, Nanette.

Music

"Nanook of the North" is the name of the protagonist in the Arctic-Themed Frank Zappa conjoined songs "Don't Eat the Yellow Snow" and "Nanook Rubs It."<ref>Template:Cite book

</ref>

Notes

Template:Notelist

References

Template:Reflist

Bibliography

Template:Refbegin

Template:Cite journal
Template:Cite journal
McGrath, Melanie (2006) The Long Exile, A True Story of Deception and Survival Amongst the Inuit of the Canadian Arctic, Harper-Collins

Template:Refend

External links

Template:Commons category Template:Wikisource

Nanook of the North essay by Patricia R. Zimmermann and Sean Zimmermann Auyash on the National Film Registry website
Template:AFI film
Template:IMDb title
Template:Internet Archive film
Experimental footage done with Nanook of the North at the Internet Archive
Great Movies: Nanook of the North by Roger Ebert
Nanook of the North an essay by Dean W. Duncan at the Criterion Collection

Template:Robert J. Flaherty Template:Portal bar

Template:Authority control