Grizzly Man, the most extraordinary documentary of 2005 (yes, better than the penguins), tells the story of a gifted man caught in the grip of a reckless certainty who ventures into a moral wilderness and almost loses sight of his humanity. I refer, of course, to the film's director, Werner Herzog. Though his film is ostensibly about Timothy Treadwell, who spent thirteen summers living among wild grizzlies in Alaska before being killed and eaten by one of them in the fall of 2003, in the end it is also about Herzog himself--something that will come as no surprise to those familiar with his work. In his indispensable The New Biographical Dictionary of Film, David Thomson writes that the German-born filmmaker "is not the ideal documentarian. You feel he has made his mind up about so many things." This is particularly true of Grizzly Man, which treats Treadwell not only as a subject but as a kind of friendly philosophical adversary. At its most revealing moments, the film takes the form of an argument, between Treadwell's heedless conviction and Herzog's rationalist cynicism, over the nature of nature and the nature of man.
Grizzly Man is constructed primarily from snippets of the more than 100 hours of video shot by Treadwell himself during his last several summers with the bears. Herzog, who narrates the film in his endearingly idiosyncratic, accented English, explains early on that in the unedited footage "lay dormant a story of astonishing beauty and depth." It is hard to disagree. Treadwell, a fortysomething surfer with a blond, Prince Valiant haircut, develops an almost mystical attachment to the grizzlies, whom he's given names such as "Rowdy" and "Mr. Chocolate." He talks to them in a soothing singsong, at one point allowing one to nuzzle his hand. When a bear shows signs of being aggressive, Treadwell puffs his chest and stands his ground, sharply lecturing "Don't you do that" until the animal backs off. When speaking to the camera, he alternates between passionately professing his love for the animals and gleefully describing the horrible death they will inflict upon him if he ever makes a wrong move.
A former alcoholic and failed actor--he claimed to have narrowly missed being cast in the Woody Harrelson role on "Cheers"--Treadwell found meaning and purpose with the grizzlies. In his off-months, he ran a nonprofit group called Grizzly People and traveled to schools to introduce children to his bear-friendly message. But more than an activist or educator, he imagined himself as the guardian of his summer grizzlies, a "kind warrior" who protected them from the depredations of the human world. (In fact, the animals live in a protected habitat, and the worst threat to them that he records is a boatload of obnoxious tourists.) His summer expeditions consisted of stays at two locations, an open plain he called the Sanctuary and a dense, forested thicket by a lake he dubbed the Grizzly Maze. The latter site, where one could stumble upon a bear unexpectedly (or vice versa) was by far the more dangerous; it was there that Treadwell and his girlfriend, Amie Huguenard, were ultimately killed. Herzog explains, "As if there was a desire in him to leave the confinements of his humanness and bond with the bears, Treadwell reached out seeking a primordial encounter. But in doing so, he crossed an invisible borderline."
This is the story Herzog intends to tell, the clear-eyed realist's view of a good-natured but emotionally disturbed dreamer whose naive belief in the beauty and harmony of nature led to his death. The film is arranged accordingly: The early footage captures Treadwell's easy connection with the wild--his assured interactions with the grizzlies, his playful romps with a few foxes whom he essentially adopts. But these Disneyesque moments gradually give way to a darker vision. Herzog uses scenes in which Treadwell laments the deaths of a fox and a young bear as evidence of the essential cruelty of the natural world. The portrait of Treadwell himself becomes less flattering as well. On camera he veers wildly from grandiosity to paranoia and self-pity, ranting obscenely against poachers, the park service--any human taint that might intrude upon his Eden. Near the very end, Herzog supplies interview footage with the local coroner, a fascinatingly theatrical character who offers a graphic description of how Treadwell and his girlfriend met their ends.
Ultimately, those deaths are the key for Herzog; they supply the tragic resonance and cautionary moral of his film. To underline his point, he includes interviews with a few experts (a biologist, a Native American curator) who argue that it's not possible to cross the line between man and nature and live among wild grizzlies. But Herzog and his experts seem to miss the most relevant fact: Treadwell did exactly that, for large chunks of 13 years. What made him a remarkable figure is not the one day when he was attacked by a bear, but the many hundreds of days when he wasn't.
Indeed, if anything, the particulars of Treadwell's death suggest he had found a sustainable way to coexist with his bears; what killed him was an enforced deviation from his usual routine. That summer he had as always left the Grizzly Maze in September to fly back to California. But after a fight at the airport over the validity of his ticket, he and Huguenard returned to the wilderness, where they stayed into October, considerably later than ever before. By then, the bears familiar to him had gone into hibernation. The animal that killed him was one that had emerged, probably starving, from farther inland. The fatal "borderline" Treadwell crossed, in other words, might not have been between species but between months.