Nanouk l'Esquimau (France) Nanook do Norte (Brazil) [pt] Nanook, o Esquimó (Brazil) [pt] Nanook, pakkasen poika (Finland) [fi] Nanuk l'esquimese (Italy) [it] Nanuk, der Eskimo (Germany) [de] Nanuk, el esquimal (Spain) [es] Nanuk, o Esquimó (Portugal) [pt] more
The film was sponsored by French fur company Revillon Freres which provided $50,000 for Flaherty's 16-month expedition halfway to the North Pole. Despite being rejected by five distributors, the film opened in New York City in 1922, after its success in Paris and Berlin, and grossed well over $40,000 in its first week.
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Apparently, Flaherty's working method was to shoot a lot of footage, then
piece together a scenario back in the cutting room. That clearly has to be
an oversimplification. Regardless, he did a remarkable job of showing the
daily drama in the lives of these people -- ordinary within their own
society, and impervious to cold by the standards of ours -- and treating
them with great warmth and humour.
Nanook is really quite a dashing and self-effacing hero.
Flaherty subsequently had trouble finding backing, and in any collaboration
with another director, his influence is said to be the lesser of the two.
Did he ever recapture quite this quality of mood? Perhaps he came closest
with the delightful Sabu, in "Elephant Boy" (1937), collaborating with
Zoltan Korda on that occasion.
Some people believe he did in "Man of Aran" (1934). At the moment, I remain
unconvinced, although I have not had the opportunity to see that one
projected on a proper screen.
If "Nanook" does not come to life for you at home, it will in a theatrical
setting.
Apparently, Flaherty's working method was to shoot a lot of footage, then piece together a scenario back in the cutting room. That clearly has to be an oversimplification. Regardless, he did a remarkable job of showing the daily drama in the lives of these people -- ordinary within their own society, and impervious to cold by the standards of ours -- and treating them with great warmth and humour.
Nanook is really quite a dashing and self-effacing hero.
Flaherty subsequently had trouble finding backing, and in any collaboration with another director, his influence is said to be the lesser of the two. Did he ever recapture quite this quality of mood? Perhaps he came closest with the delightful Sabu, in "Elephant Boy" (1937), collaborating with Zoltan Korda on that occasion.
Some people believe he did in "Man of Aran" (1934). At the moment, I remain unconvinced, although I have not had the opportunity to see that one projected on a proper screen.
If "Nanook" does not come to life for you at home, it will in a theatrical setting.