Jane (2017)

Best movie of this year hands down!

How sad is this?

Absolutely Brilliant!

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

"Jane" is a pretty good doco; indeed, among the best I have seen. Unlike many nowadays, including some other National Geographic product, it maintains a high standard in all respects. This includes its overall construction, the near-impeccable score, the absence of hysterical and breathless dialogue and commentary, and most of all, the editing and fine mixing of archival and new moving and still imagery. The story, of course, stands on its own two feet.So I have no quibbles. Any complaints about some fuzzy pictures ignore such realities as the quality of films made in difficult circumstances with the equipment of the day decades ago, even by professionals, and the few home movie clips which this production employs judiciously. Critics of fairly frequent footage of Goodall carrying and using binoculars, and staring into the jungled distance are a humorous reminder of my eight visits to Africa. I found many tourists (especially but not exclusively American) with such a low attention span that they complain if they don't see an amazing critter around every bush and have no patience for searching. I don't mind "Jane" reminding us that binoculars are among the most used and more important tools of wildlife watchers and photographers. Goodall's need for binoculars sits side by side with her discovery that chimpanzees, just like humans, make and use tools.

Someone found a box of unused film clips that Jane Goodall's husband, cinematographer Hugo van Lawick, had left in a box and decided to piece them together into another Jane Goodall documentary. You'll see why van Lawick left them in a box because they are posed shots of Jane looking through binoculars, climbing trees, washing her hair, looking through binoculars, walking through the jungle, looking through binoculars, playing with a chimp, looking through binoculars, and looking through binoculars. Only reason to watch this is an attempt to induce an aneurysm.

This is an excellent documentary well worth seeing for those with an interest in Jane and her fascinating life. I would encourage that it be seen in a theater as the footage is spectacular on the big screen and the excellent musical score and sound mix are incredible! A warning-- some of this is quite disturbing and intense (life and death in the jungle) and may trouble some younger or sensitive viewers. However, a sense of awe and admiration at Jane's determination and dedication to her work leave one with a sense of joy. 10/10

Relying heavily upon previously unseen footage from the film vaults of National Geographic, this release will be of interest to people who have followed Dr. Goodall's groundbreaking work. To the same audience, however, much of the narrative will already be familiar. To my mind, it is best seen as an appendix to the fine work that has already been done in documenting the now legendary story of Jane Goodall rather than as a definitive synopsis of her career. Given that much of the visuals are over half a century old, younger audiences especially might have difficulty reconciling the production values of mid-twentieth century field location footage with the high expectations engendered by the modern cinema experience. Where this film shines, and the reason I would encourage people to see this film in a cinema, is the sound. The score (by the inimitable and immediately recognizable Phillip Glass) is itself compelling, and appropriately mirrors the emotional cadence of the visual narrative. The sound design and editing, apart from the music, however, is truly brilliant. The theater erupts in a chorus of chimpanzee cries, among other jungle soundscapes, in many parts of the movie, and I almost felt the need to turn around to see what might be behind me at some points. Glass also cleverly weaves chimp calls into the score in a syncopated "cat's cradle" of rhythm at one point, which brought a smile on my face by mere virtue of its compositional ingenuity; this film is "ear candy." That being said, despite the many out of focus and grainy shots, there are some truly breathtaking visuals in the movie provided by Hugo van Lawick, Dr. Goodall's original videographer and eventual (ex)husband. The most breathtaking stuff comes from the Serengeti, and is therefore ancillary to Dr. Goodall's work the Gombe Reserve, but is still important in the personal narrative of her life. You will not see a more intimate portrayal of Dr. Goodall's journey elsewhere however, despite the miles of celluloid devoted to her. Anyone who reads her books will already be familiar with the story disclosed in the story line itself, including the incalculable value of the influence of Dr. Goodall's mother, but the footage of "Mum" in camp at Gombe will be a treat for those who have hitherto only known her as a character mentioned in prose, passing dialogue in a previous documentary, or mention in one of Dr. Goodall's innumerous public appearances. While much of the visual media of this film is novel, and the narrative itself mostly familiar, the presentation is likely to entertain, if not inform, almost any viewer. Modern audiences are cautioned to understand that this is not a film that relies upon computer- generated special effects, explosions, and a vast post-production budget beyond restoring and improving half- century old celluloid reels. It will very likely succeed in evoking an emotional response, which is, after all, the aim of any artistic work. That Dr. Goodall's entire career succeeds in the same vein is a powerful argument for the assertion that her life itself must be viewed as a contribution to art as much as to science.