Last weekend, I went down to DC to attend a party and hang out with some friends. It was good. Since it was rapture weekend, there were two bands out on the National Mall preaching to the masses. One classic hard-rock themed group in front of the Air & Space Museum, launching twenty minute shred-jams as the portly lead singer (wearing shorts and sitting in a chair btw, un-rock-and-roll) threw in interjections - “resistthedevil!”, “followJesus!”. Another troupe directly across from the first, composed of soft nostalgic baby boomer jesus hippies, played 50’s/60’s rock and roll to backing drum tracks with changed lyrics (unless Chuck Berry meant it to be “go Jesus go! go!”). Needless to say, you can hear the cheap chorus pedal can’t you?
In the afternoon, I met up with my friend Beth and her girlfriend Shira to see Werner Herzog’s “Cave of Forgotten Dreams”. I had heard really good things about it, especially from Ebert via his Twitter feed. AND I’d heard that this is one of the few movies that benefits from being in 3-D. Unfortunately, the AFI theatre was showing it in 2-D. Nonetheless, I expected goodness.
I was wrong. What began as an interesting look into a cool prehistoric cave turned into one of the stranger movies I’ve seen in a while. It goes from descriptive to philosophical to anthropological to musical to just plain weird. All of which would have been fine if I didn’t get the sneaking, maybe quasi-paranoid feeling that there was something up Herzog’s sleeve.
What could have been an enjoyable, simple, informative, beautiful movie became a traffic jam of crazy. But calculated crazy I think. Thus, I am prepared to argue that Cave of Forgotten Dreams is one huge tongue-in-cheek joke poking fun at the self-serious tone of the documentary genre. I am imagining Herzog giggling his odd-cadenced way in the editing room as he sees just how far he can extend the joke before the audience calls his bluff.
I’m making this argument without any supplementary evidence. None of the reviews I’ve read (not many) have questioned the sincerity of the movie, and I haven’t seen any interviews with Herzog himself about the movie. This is all purely from one viewing of the movie. And admittedly, not in 3-D, but then, my feelings have nothing to do with the image quality, so…
I first suppressed a laugh when the Scientist told us to be quiet, so that we could hear the spirits of the cave (or something) [dramatic pause, turn to the camera], “and perhaps, our own heartbeats.”
Can a documentary be hammy?
Then there follows various interviews and different angles, none of which persuaded me to take the movie seriously. The cast of characters (and yes, I’m calling them characters) is goofy and suspect:
1) French anthropologist/circus performer: WHAT?! Why is that in the movie?! Of all the conversation they must have taped, why put that factoid in? Does it establish him as an expert? To the circus anthropologist’s credit, he is the only one among the interviewees who doesn’t lap up the leading questions that Herzog provides;
2) The mustachio’d anthroplayboyologist who demonstrates how to use an atlatl. He is so willing to answer every leading question in the affirmative, showing no sign of an academically rigorous backbone or healthy skepticism anywhere;
3) The master perfumer, walking around sniffing the ground for cave entrances, and then later, sniffing the interiors of the cave as if that somehow validates his “process”;
4) The skin-wearing experimental bone flautist, who stares so earnestly into the camera when it’s his turn that I got uncomfortable, and who then played the Star-Bangled Banner on his flute made from a vulture bone and acted like there was some obvious connection (?!).
After Woodwind Caveman, I wouldn’t have been surprised if Dr. Raleigh St. Clair had shown up next, in all of his postured, pretentious, self-serious glory. The movie was that contrived. Alas, Werner Herzog didn’t go that far.
The movie lost me long before the post-script, so I wasn’t all that shocked to see some albino alligator as a metaphor for…somethingidon’tknowwhat. That being said, the overwrought, faux-thought-provoking line about the alligator “becoming its own doppelganger” made me laugh.
It’s to Herzog’s credit that he keeps a straight face through the whole movie. I didn’t question Grizzly Man, it didn’t seem to need to be. Despite some of Herzog’s heavy handed editorializing, the content was undeniably good- at times beautiful, at times sad, at times amazingly frustrating (c’mon Tim, get a grip!)- and the movie didn’t lose sight of that. Ironic then that Cave of Forgotten Dreams, ostensibly so dependent on vision to communicate these paintings, is just so damn screwy.
Maybe this is a totally sincere movie in which Herzog let his creativity wander freely. If so, fine; then it’s just a bad framing of a pretty nifty cave. But I have my suspicions. I don’t think Herzog’s laughing all the way to the bank. On the contrary, it feels like he’s the kind of guy who’d pay for the chance to mess with an audience. And I think that’s what he’s doing.