Released seven years apart, “Microcosmos” (1996) and “Winged Migration” (2003) fall into the tiniest of all possible movie subgenres: French nature documentaries that are thoroughly devoid of anything resembling progressive messaging or subtext.
Both movies were produced by the late Jacques Perrin (also co-director for “Winged Migration”) and took years to make, and each was extremely profitable. “Microcosmos” cost $3.8 million and took in $52.8 million at the box office. “Winged Migration” was far more pricey ($23.6 million) but more than doubled that in identical ticket sales ($52.8 million).
Profit margins really have nothing to do with quality, considering some poor quality movies, such as “The Blair Witch Project,” “Super Size Me,” and “Friday the 13th”. At first glance, “Microcosmos” and “Winged Migration” are more art house than standard family fare, but in actuality they are both. As with the recent live-action “My Penguin Friend,” they pull off the rare feat of being appealing to audiences simply interested in good stories and appealing to all ages, while attracting the hard-to-please crowd.
Despite the frequent overlaps in unobtrusive observation and spectacular nature cinematography, the two movies couldn’t be more different in execution.
Stories-Tall Insects
The first time I saw “Microcosmos” on a big screen, the ants, ladybugs, bees, beetles, and dragonflies appeared stories tall. The point of view was from that of the subjects, and the detailed imagery was nothing less than stunning.
Apart from the opening and closing vocal stanzas delivered by actress Kristin Scott Thomas, “Microcosmos” is devoid of narration.
“Winged Migration” is an entirely different venture since its canvas is not a small French field but rather the entire globe.
Shot over the space of four years while spanning all seven world continents and the Arctic Circle, the exposed raw film footage measured 590 miles. Production teams totaled over 450 people, plus 17 pilots, and 14 cinematographers shooting in 40 countries.
Bonus Features
Already established fans of the film should seek out the Blu-ray edition, which contains well over two hours of extras, including a “making-of” featurette, a “Creating the Music” featurette, filmmaker interviews, and optional director commentary.As with “Microcosmos,” the narration (from Perrin) here is kept to a bare minimum—a tad over three minutes total. In order to keep viewers aware of the shoot locations, bottom-of-the-screen text appears briefly noting the breed of bird, the starting and ending locations of their annual journeys, and the number of miles covered on each trip.
Familiar Landmarks
While there are segments that are clearly shot in Asia, Africa, South America, and Central America, others depend on man-made structural backdrops such as the Eiffel Tower, the Great Wall of China, the Pyramids of Egypt, and (in a shot that will certainly strike a chilling chord among many) New York City’s Twin Towers.
Also key to the success of both films are the scores composed by Bruno Coulais. Employing traditional orchestral works along with adult and juvenile choral groups, strings, and human percussion, the respective soundtracks are crucial in the grand scheme of the two films’ overall impact.
For parents interested in imparting grand lessons in the cycles of life, global geography, and the animal kingdom upon their children, in both a fun and nonobvious way, “Winged Migration” and “Microcosmos” have few peers. The overall sense of wonder and amazement is off the charts.
These two movies are not what we’ve come to think of as traditional family fare. They’re “artsy,” don’t spoon-feed the narrative, or provide any answers to unasked questions. They present life outside safe urban and suburban perspectives, and give us viewpoints that most of us will never be afforded in person. For those reasons alone, these movies are indispensable.
