Arts and Entertainment, Travel
Bruce Chatwin, documentaries, film festivals, LGBTQ, movies, New York City, Nomad: In the Footsteps of Bruce Chatwin, reviews, travel, Tribeca Film Festival, Werner Herzog
May 5, 2019
by Carla Hay
“Nomad: In the Footsteps of Bruce Chatwin”
Directed by Werner Herzog
World premiere at the Tribeca Film Festival in New York City on April 28, 2019.
German filmmaker Werner Herzog has directed an eclectic array of documentaries, which feature his deliberate and thoughtful style of narration and on-camera interview techniques. “Nomad: In the Footsteps of Bruce Chatwin” is probably one of Herzog’s most personal documentaries of his career because British writer/adventurer Bruce Chatwin, who died of AIDS in 1989 at the age of 48, was one of Herzog’s good friends.
Before Chatwin died, he gave Herzog a rucksack that Chatwin had carried in his travels around the world. In the documentary, Herzog brings the rucksack and retraces a lot of Chatwin’s journeys to pay tribute to and get a better understanding of his late friend. The documentary includes voiceovers from Herzog and old recordings of Chatwin. Unlike most movies, which are divided into three acts, “Nomad” has eight chapters, all of which are titled in the film.
“Chapter One: The Skin of the Brontosaurus” has Herzog going to Patagonia, Chile, which was the subject of Chatwin’s 1977 travel book “In Patagonia.” He interviews Karin Eberhard, the great-granddaughter of 19th-century explorer Hermann Eberhard, who is credited with discovering the remains of a giant sloth. In this chapter of the documentary, Herzog goes to the Patagonia city of Punta Arenas, where he visits the Lord Lonsdale Shipwreck, as well as the grave for Charles Milward, the British consul who was a cousin of Chatwin’s grandmother Isobel. Milward reportedly gave a piece of giant sloth fur (which was sometimes mistaken for brontosaurus hide) to Isobel as a wedding gift. It was Chatwin’s dream to get a piece of a brontosaurus. In this chapter, Herzog also interviews Chatwin biographer Nicholas Shakespeare.
“Chapter Two: Landscapes of the Soul” has Herzog traveling to Avebury, Wiltshire, in England, where there is a stone many people believe has mythical force and powers. Silbury Hill was Chatwin’s “pivot, his mythical place of origin,” according to Herzog, who includes footage of tourists wearing masks over their eyes for protection from these mysterious forces. There’s also footage of how the magnetic forces work with metal prongs. Herzog also travels to Llanthony Priory in Wales, the location of where Bruce courted his wife Elizabeth, who is interviewed in this chapter.
“Bruce Chatwin was searching for strangeness,” Herzog comments in the film. He also notes that Chatwin liked Herzog’s 1969 “Signs of Life” movie with the windmills scene that Chatwin called “dangerous landscape,” according to Herzog. The filmmaker also travels to Coober Pedy, Australia, where Chatwin and Herzog first met. “We were both fascinated by Aboriginal mythology,” Herzog remembers.
“Chapter Three: Songs and Songlines” explores indigenous sounds in Australia, particularly at the Strehlow Research Centre. People interviewed in this chapter include musician Glenn Morrison and Alyawerre experts Michael Liddle Pula, Marcus Wheeler and Shawn Angeles Penange. “Our songlines are our way of contributing to the health of this planet,” says one of the Alyawerre commentators.
“Chapter Four: The Nomadic Alternative” is named for an unpublished Chatwin manuscript. Herzog travels to Tierra del Feugo in Argentina, where photos of nomads fascinated Chatwin. There’s some great footage of hand imprints on overhanging rocks that were left more than 10,000 years ago, as well as some photos of nomads, such as those showing nomads with painted bodies and a naked man lying down.
“Chapter Five: Journey to the End of the World” finds Herzog in the remote La Isla Navariono in Chile.
“Chapter Six: Chatwin’s Rucksack” has Herzog back in Patagonia, where he carries the cherished rucksack and says that in his 1991 movie “Scream of Stone,” there’s a scene with someone with a rucksack, and that scene was a tribute to Chatwin.
“Chapter Seven: Cobra Verde” is a brief behind-the-scenes commentary on Herzog’s 1987 film “Cobra Verde,” which was based on “Bruce Chatwin’s 1980 novel “The Viceroy of Ouidah.”
“Chapter Eight: The Chapter Is Closed” circles back to Chatwin’s widow Elizabeth, who candidly talks about their open marriage. She says that she didn’t care that her husband Bruce was bisexual, and that he often invited his lovers into their home. Herzog also reads from the notebook containing the last line that Chatwin ever wrote.
“Nomad” is certainly going to appeal to fans of Herzog and Chatwin, as well as people who have a general interest in world travels. This is a quintessential arthouse film, so anyone who isn’t inclined to watch an artsy documentary will find a lot of this movie too slow-moving and dull for their tastes. The cinematography (by Louis Caulfield and Mike Paterson) has many stunning moments, which is to be expected in a Herzog film.
Herzog’s dry wit is present in the movie, but the wistfulness and sadness that he feels over his dear friend’s death can also be felt in the documentary. Above all, Herzog respectfully pays tribute to Chatwin in “Nomad,” and offers unique glimpses into Chatwin’s personality and intellectual curiosity in this celebration of Chatwin’s adventurous and full life.
UPDATE: Music Box Films will release “Nomad: In the Footsteps of Bruce Chatwin” in select U.S. virtual cinemas on August 26, 2020.