On a fateful summer day in 1974, a French street performer named Philippe Petit pulled off one of New York City's greatest stunts.
With a large group of loyal friends aiding his daring act of performance art, Petit walked on a tightrope strung between the Twin Towers of the World Trade Center.
His act was criminal, his skill was undeniable and his stunt unforgettable. Yet, after the horrific attacks of Sept. 11, 2001, this incident has faded from public memory. Now, with James Marsh's amazing new documentary, ""Man on Wire,"" Petit's piece of performance art will become engraved in the public's subconscious more than ever before.
Marsh examines Petit's act from several perspectives, looking at both the 40-minute tightrope exhibition itself along with the extensive preparation that went into the act. Marsh directs the film in the style of a heist film, a la ""The Sting"" or ""Ocean's Eleven.""
Not only does Marsh interview Petit, who is still comical and punctilious in his old age, but he also interviews the secondary characters, including Petit's lover, Annie Allix, and Petit's closest friend, Jean-Louis Blondeau.
Watching Petit and Blondeau plan the show is like watching Robert Redford and Paul Newman plan their larcenous scheme in ""The Sting.""
The difference is that Redford and Newman were motivated by money and revenge, whereas Petit and Blondeau are motivated by the thrill of performance art. But like ""Ocean's Eleven,"" there are many pieces that need to be in the right place to complete the scheme. There are several American pranksters, a few small-time players and the quintessential ""inside man,"" an insurance agent named Barry Greenhouse who helped Petit get inside the towers.
What really sets ""Man on Wire"" above other documentaries is its refusal to rely on the Sept. 11 attacks as a crutch.
If Marsh had wanted, he could have created a narrative tying Petit's prank into the towers falling and spun some long-winded story about Petit being part of the living memory of the towers.
Instead, Marsh makes no reference to the attacks, instead letting Petit and his tightrope speak for themselves. There's no need to mention the attacks, as simply seeing Petit do his dancing, pirouetting moves thousands of feet above the ground is enough of a reminder of the fragility of life.
Mentioning the Sept. 11 attacks would have been overkill, and Marsh widely avoids this association.
Overall, ""Man on Wire"" is a masterpiece. It combines a thrilling story arc with compelling interviews and historical reenactments (including one hilarious pseudo-flashback in which Petit reads about the World Trade Center construction and immediately pictures his prank).
It's no surprise that the film captured the Academy Award for best documentary at this year's Oscars.
Even if dry documentaries are not typically your thing, ""Man on Wire"" brings the excitement of a heist movie, the visceral beauty of an art film and the thorough storytelling of a documentary all in one film.
Audiences of all ages and demographics will love ""Man on Wire,"" which has cemented itself as the best documentary, and perhaps even the best overall film, of 2008.
Grade: A
