The legendary German filmmaker Werner Herzog shoots remarkable films about extreme endeavors in extreme places: his classic 1972 feature “Aguirre, the Wrath of God” (set in the Amazonian jungle), for instance, and more recently such dazzling documentaries as “Cave of Forgotten Dreams” (the Chauvet Cave in southern France).
For his 2010 documentary “Happy People: A Year in the Taiga,” set in the crushing ruggedness and cold of a remote Siberian village — and beyond it the Taiga, an enormous forest region — Herzog didn’t have to travel far.
As with his 2005 “Grizzly Man,” “Happy People” is built around pre-existing footage.
But where Herzog added new material to “Grizzly Man” to inquire into a tale of fatal obsession, the 94-minute “Happy People” finds the director waxing poetic and unapologetically idealistic over images entirely culled from a four-hour Russian television documentary.
- Narcotics dog hospitalized after ingesting meth
- Newcomers arriving in record numbers, but from where?
- It's no easy task, but contract extension for Seahawks QB Russell Wilson will get done
- Toppled fish truck makes a stinker of a commute Tuesday night
- Amazon devouring quarter of Seattle's best office space
Most Read Stories
Whatever that longer, original TV cut looks like, Herzog has fashioned his extracted footage to resemble a cross between an old Robert J. Flaherty documentary (the 1922 silent “Nanook of the North” certainly comes to mind) and, well, a vintage Werner Herzog movie.
There are historic arguments that “Nanook’s” noble portrait of the Canadian Arctic’s Inuk people was partly contrived by Flaherty. Those claims are echoed in Herzog’s past admissions he doesn’t really make documentaries but rather self-aware versions of reality suiting his storytelling purpose.
In a way, “Happy People” is an ironic commentary on Herzog’s relationship to the documentary form. Extraordinary footage of the village of Bakhtia and the hardscrabble life of fur trappers has the innocent appeal of an old-
fashioned nature film. But Herzog’s narrated glorification of the complete freedom Bakhtians allegedly enjoy adds a willful naiveté.
Yet Herzog is not insincere. His passion for outsize experience has always captured our essential human identity against big backdrops. He captures it again in “Happy People,” but this time with a twist.
Tom Keogh: firstname.lastname@example.org