Nanook of the North

Plot

Nanook of the North follows the daily life and struggles of Nanook, an Inuit hunter, and his family as they navigate the brutal Arctic landscape of northern Quebec. The film documents their remarkable survival techniques, including building igloos, hunting walrus and seal, fishing through ice, and trading at a Hudson's Bay Company post. Throughout their journey, the family faces numerous challenges from starvation to blizzards, demonstrating incredible ingenuity and resilience in one of Earth's most inhospitable environments. The narrative captures both tender family moments and dramatic hunting sequences, painting a portrait of a people perfectly adapted to their extreme surroundings while simultaneously highlighting the encroaching influence of modern civilization on their traditional way of life.

Historical Background

Nanook of the North emerged in the post-World War I era when audiences were hungry for authentic experiences and escape from modern industrial life. The 1920s saw a surge of interest in anthropology and ethnography, with Western societies fascinated by 'primitive' cultures they believed were disappearing. The film was created during the height of colonial expansion, when Indigenous peoples were often viewed through a romanticized lens. The Arctic regions were undergoing rapid change due to increased contact with Western traders, missionaries, and government officials, making traditional ways of life increasingly difficult to maintain. The film's release coincided with the golden age of silent cinema, when visual storytelling reached its artistic peak. It also predated the establishment of documentary ethics and standards, allowing filmmakers considerable freedom in how they presented their subjects.

Making Of

Robert Flaherty originally traveled to the Arctic as an explorer and prospector, bringing along a camera to document his journeys. After his first expedition's footage was destroyed, he secured funding from fur trading company Revillon Frères to return and make a proper film. Flaherty developed a unique collaborative approach, working closely with the Inuit to determine what aspects of their lives to film and how to present them. He lived with the community for over a year, learning their language and customs. The production faced extreme challenges: cameras freezing in temperatures reaching -40°C, film becoming brittle in the cold, and the constant threat of starvation for both crew and subjects. Flaherty insisted on multiple takes for many scenes, a revolutionary approach for documentary filmmaking at the time. The relationship between Flaherty and his subjects was complex - while he genuinely respected them, he also manipulated scenes for dramatic effect, creating an ongoing ethical debate about documentary authenticity.

Visual Style

The cinematography was groundbreaking for its time, achieved under incredibly difficult conditions. Flaherty used a hand-cranked Bell & Howell camera that frequently malfunctioned in the extreme cold, requiring constant maintenance. The crew developed special techniques to prevent equipment from freezing, including keeping cameras inside their clothing when not filming. The film features remarkable wide shots of the Arctic landscape that emphasize both its beauty and its overwhelming scale. Close-ups of faces and hands during hunting scenes create intimacy and tension. The famous igloo-building sequence required cutting a special igloo with an ice window to allow enough light for filming. The black and white photography creates stark contrasts between snow, sky, and human figures, enhancing the visual drama. Despite technical limitations, the film achieves a level of visual poetry that elevates it beyond simple documentation.

Innovations

Nanook of the North pioneered numerous technical innovations in documentary filmmaking. Flaherty developed new methods for filming in extreme cold, including modified camera housings and special film handling techniques. The film was one of the first to use multiple camera angles in a documentary context, particularly during the hunting sequences. The igloo interior shots required innovative lighting solutions using reflected sunlight through ice windows. Flaherty experimented with time-lapse photography to show the changing Arctic light. The film's editing techniques, particularly the cross-cutting between different hunting activities, established narrative conventions for documentary storytelling. The production also developed new methods for transporting and storing film equipment in Arctic conditions. These technical achievements were particularly remarkable given that Flaherty was largely self-taught as a filmmaker.

Music

As a silent film, Nanook of the North was originally accompanied by live musical performances during theatrical screenings. The recommended score included classical pieces by composers like Smetana and traditional folk music. Different theaters created their own musical interpretations, with some using Inuit-inspired compositions while others opted for conventional dramatic music. In 1999, a new orchestral score was composed by Timothy Brock, incorporating Inuit musical elements while maintaining the film's dramatic tension. Modern restorations have included various musical accompaniments, ranging from minimalist ambient scores to full orchestral arrangements. The absence of synchronized sound actually enhances the film's documentary quality, forcing viewers to focus on the visual storytelling and natural sounds of the Arctic environment.

Memorable Scenes

• The iconic igloo-building sequence where Nanook and his family construct their snow home in time-lapse, showcasing remarkable architectural skill and teamwork
• The dramatic walrus hunt on the ice floes, where Nanook and his fellow hunters struggle with the massive animal using traditional harpoons
• The gramophone scene where Nanook curiously examines the modern device, biting the record in confusion and wonder
• The seal hunting scene through a small ice hole, demonstrating the patience and precision required for Arctic survival
• The family huddled together in their igloo as a blizzard rages outside, emphasizing the warmth of human connection against nature's fury

What Critics Said

Contemporary critics hailed Nanook of the North as a groundbreaking masterpiece, with The New York Times calling it 'a beautiful and moving picture of human life in one of the most remote corners of the earth.' Critics praised its technical achievements in extreme conditions and its emotional power. However, even in 1922, some reviewers questioned the authenticity of certain scenes. Modern criticism is more divided - while acknowledging the film's historical importance and artistic merit, contemporary critics often criticize its staging, romanticization, and colonial perspective. The film is now frequently studied in film schools as both a pioneering achievement and a cautionary tale about documentary ethics. Many modern Inuit and Indigenous critics have pointed out how the film created stereotypes that have affected how their cultures are portrayed for a century.

What Audiences Thought

Nanook of the North was a commercial and critical success upon its release, playing for months in major cities around the world. Audiences were fascinated by the exotic subject matter and the film's dramatic presentation of Arctic life. Many viewers believed they were watching completely authentic footage, which added to the film's impact. The human element - particularly the family dynamics and Nanook's personality - resonated strongly with viewers. The film's success proved that documentaries could attract mainstream audiences, not just specialized or educational viewers. However, modern Inuit audiences often have mixed feelings about the film, appreciating the documentation of their ancestors' skills while criticizing the misrepresentations and staged elements.

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