The Rush Of A River, The Rise Of A Gondola
Although they take very different approaches to the eco-documentary, DamNation and Manakamana are both immersive experiences. In the former, one of the directors is the narrator and an on-screen character. In the latter, the directors stay off-camera (or behind the camera) as they turn a simple journey into a slowly unraveling ethnographic mystery.
DamNation opens with a recording of FDR, who acclaims the then-new Hoover Dam and denounces those of "narrow vision" who reject major public-works projects. But the movie's main voice belongs to co-director and cinematographer Ben Knight, who shares the prankish spirit of activists who paint cracks on massive dam walls. Knight and co-director Travis Rummel take to their kayaks to explore a dam system where they're decidedly not welcome, and hide in the woods to video-record the demolition of a dam whose end was officially off-limits to the press.
The two filmmakers invoke the history of Earth First and the Monkey Wrench Gang, both of which engaged in sabotage against projects they considered environmentally unsound. But the contemporary anti-dam movement is gentler, perhaps because it's partially won the debate. Dams are disappearing, especially in those areas where salmon runs are now seen as more important than hydroelectric power and flood control: Maine and the Pacific Northwest. (DamNation is playing this week in Portland, Ore., before opening in New York on May 9.)
Despite having "nation" in its title, the movie spends less time in the rest of the country. The filmmakers recount a late-1950s expedition through doomed Glen Canyon, an archaeologically significant Utah/Arizona gorge drowned to create Lake Powell in the 1960s. But this section of the movie is more wistful than contentious. It includes the reminiscences of now-94-year-old Katie Lee, who shares nude photos of herself, artfully posed on the rock walls.
The huge reservoirs that supply ever-thirsty California are less likely to disappear than smaller dams in rainier regions. The filmmakers don't really address that issue, and never offer a comprehensive overview of the cases for and against dams. (Some prominent supporters declined to be interviewed.) The movie's style is as discursive and scattershot as Knight's narration. Even strong anti-dam arguments, such as the silting that eventually makes the edifices useless, are mentioned only in passing. DamNation would rather be where the fun is: rafting newly liberated whitewater, or watching an activist rappel down an immense concrete wall, paintbrush in hand.
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