He might need money, but he understands that is not the same thing as being poor. He simply says he did it “to pay the gas bill.” But the movie does not shy away fro m consideration of the white privilege that allowed the baronet to make a life out of exploring. But the subject is never less than enthralling.įiennes does not try to explain his expeditions with heroic “because it’s there” rhetoric. The organization of the film, jumping back and forth in time, is distracting. Some of the archival footage looks scratchier than anything from the last 30 years should, perhaps to underscore the impression of Fiennes’ accomplishments as connected to forebears like Hillary and Perry, or perhaps just to underscore the dire conditions of the locations. We see him look down at the results of his amateur surgery casually noting, as if someone put too much salt in the soup, “that one and that one made rather a botch-up.” He also auditioned to play James Bond and says he made it into the final six candidates, but “they gave it to that other chap.”ĭirector Matthew Dyas has an ideal documentary subject in Fiennes, an arresting character of remarkable accomplishment, documented through archival footage that makes clear how punishingly brutal the challenges of the adventures were. He also wrote two dozen best-selling books, delivered hundreds of lectures, and, when he was told he had to wait five months to have his frostbite-damaged fingertips amputated, went into his workshop and cut them off himself.
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