| Photos (See all 44 | slideshow) | Videos (see all 16) |
| Tim Allen | ... | Narrator (voice) |
Directed by | |||
| Alastair Fothergill | |||
| Mark Linfield | |||
Writing credits | ||
| Alastair Fothergill | (original concept) & | |
| Mark Linfield | (original concept) | |
| Mark Linfield | (written by) & | |
| Alastair Fothergill | (written by) & | |
| Don Hahn | (written by) | |
Produced by | |||
| Alastair Fothergill | .... | producer | |
| Don Hahn | .... | executive producer | |
| Mark Linfield | .... | producer | |
| Connie Nartonis Thompson | .... | associate producer | |
| Alix Tidmarsh | .... | producer | |
Original Music by | |||
| Nicholas Hooper | |||
Cinematography by | |||
| Martyn Colbeck | (co-cinematographer) | ||
| Bill Wallauer | (co-cinematographer) | ||
Film Editing by | |||
| Andy Netley | |||
Production Management | |||
| Liz Stevens | .... | production manager | |
| Emma Zee | .... | post-production supervisor | |
Sound Department | |||
| Matthew Gough | .... | sound re-recording mixer | |
| Simon Hill | .... | mix technician | |
| Kate Hopkins | .... | supervising sound editor | |
| Philip Jenkins | .... | foley mixer | |
| Doc Kane | .... | narration mixer | |
| Kristin Mosher | .... | sound recordist: Uganda | |
| Tim Owens | .... | sound editor | |
| Johnathan Rush | .... | sound mix technician | |
| Jack Stew | .... | foley artist | |
| David Turner | .... | sound facility director | |
| David Turner | .... | sound project manager | |
| Andrew Wilson | .... | sound re-recording mixer | |
Visual Effects by | |||
| Lorraine Johnson | .... | film recording supervisor | |
Camera and Electrical Department | |||
| Michael Kelem | .... | aerial photography | |
| Samuel Munene | .... | assistant camera: Uganda | |
| Tim Shepherd | .... | time-lapse photography | |
| Warwick Sloss | .... | additional photography | |
| Bill Wallauer | .... | principal photography: Uganda | |
Editorial Department | |||
| Dan Clamp | .... | technical manager | |
| Wesley Hibberd | .... | digital intermediate assistant | |
| Luke Rainey | .... | colorist | |
Music Department | |||
| Gordon Davidson | .... | assistant score mixing engineer | |
| Gordon Davidson | .... | scoring pro tools engineer | |
| Andrew Dudman | .... | music recording engineer | |
| Andrew Dudman | .... | music scoring mixer | |
| Allan Jenkins | .... | music editor | |
| Alastair King | .... | conductor | |
| Alastair King | .... | orchestrator | |
| Matt Mysko | .... | assistant recording engineer | |
Other crew | |||
| Edward Anderson | .... | field manager | |
| Dan Clamp | .... | technical manager | |
| Sarah Garner | .... | production coordinator | |
| Maggie Gisel | .... | production support | |
| Rachel James | .... | production accountant | |
| David Reynolds | .... | creative consultant (as Dave Reynolds) | |
| Hugh Wilson | .... | field assistant | |
| Kirk Wise | .... | creative consultant | |
Thanks | |||
| Jane Goodall | .... | thanks | |
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| Grizzly Man | African Cats | Great Bear Rainforest | Koyaanisqatsi | An Inconvenient Truth |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Documentary section | IMDb Tanzania section |
Calling Chimpanzee a documentary is only half right, for this sometimes contrived narrative seems so fabricated as almost to call into question the authenticity of the whole production. Three-year old chimp Oscar loses mom; alpha male Freddy adopts him. That seems fine until the battles between rival groups for the nut field guarded by his mom's tribe appear narratively convenient and cunningly edited.
But I must remember this production is sanctioned by Chimp champion Jane Goodall, so anything contrived is probably minimal. Yet that photography and chimp-intimate moments make it a delight.
Chimpanzee is the only G rated film I have seen recently, and deservedly so. Although the fights and the deaths are undoubtedly accurate in the Tai Forest of the Ivory Coast, the cutaway shots that brook no blood give the film a surreal cast, as if the story were fashioned by a child who could not fathom violence. Moreover, it is known that females will eat untethered little-uns; such observations do not pass the relaxed lips of Tool Time's narrator, Tim Allen. Really, Jungle book is more terrifying.
But I digress. The photography of the primates in their natural habitat is downright gorgeous, and the use of slow motion is more appropriate and restrained than any I have seen in years. One time-lapsed shot of rain drops falling on puffballs is not only exquisite but also so artful as to seem gratuitous, inserted for beauty's sake, not the story (although a figurative interpretation could be devised, but, hey, this is a documentary, not an art film).
The scenes running with the credits show some of the apparatus, including high-strung cable with remote camera, and time is spent to verify the plot line of the bonding alpha and Oscar.
So I'm back again to admiring the photography and grousing about the fabricated-seeming story. The narration is sometimes goofy and the music manipulative.
Just take the kids and enjoy; they will not be as whiny as I.