Very disappointed :(

SERIOUSLY. This is what the crap Hollywood still puts out?

Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

I'm afraid this is one of the cases when I went to a good deal of physical effort, not to mention discomfort, to get to see a film, and then had my expectations severely dashed. What I find hard to grasp about this film is just how anyone could take such dramatic footage and create such a sadly tedious result out of it...In many ways this is a silent film, but as a silent it is ill-served by its (too sparse) intertitles and its (apparently especially composed) music, which is used in talkie-fashion as a bland wash of sound behind the images, rather than responding in any way to what is on screen. The visuals ought to be full of tension, and I felt that the homogeneous deployment of the music actually undermined what tension was there.Which was not much. The impression I got was that the director was trying to put in *every* frame that he had shot on location, with the result that everything happens with extreme longueurs. Unfortunately very little of what we are seeing is explained, which doesn't help. Eventually it is usually possible to work out what is happening, but the approach is neither conducive to the interest of a documentary nor to the coherence of a narrative film.Considered as a talkie, on the other hand, the film makes poor use of dialogue -- which is, in practice, largely incomprehensible, and unhelpful when the characters' words can be made out (it's clear why intertitles were felt to be necessary). I wasn't clear whether the characters are in fact speaking Gaelic most of the time, as I had originally assumed, or whether the recording quality is just so poor as to make it hard to understand their accented English.So far as narrative goes, practically nothing actually seems to happen. I'm afraid I actually fell asleep in the middle of the film (at some point after the interminable shots of the curragh hooking a basking shark in real-time were followed, alas, by an intertitle stating that the action was going to continue for a further two days..!), but worryingly didn't appear to have missed anything when I woke: the woman and boy were still gazing out from the cliffs, the boat was still out on the waves, and the only thing that had changed was the weather. Basically, the curragh arrives at the start of the film, there are some shots of soil gathering and starting the cultivation of a new field (this was the most interesting and 'documentary' section of the whole picture, where we were actually given enough information to learn something!), and then the curragh and its crew set out again after a (quite harmless) basking shark, which is almost as large as the boat. A storm. The boat is smashed after the crew abandon it on the stony beach -- I'm afraid I chiefly hoped the film-makers paid for the loss -- The End.The rest is all endlessly arty shots of the waves smashing against the cliffs on Aran. Very little shown of the everyday life of the inhabitants; no explanation of the fascinating history and unique handling qualities of the curraghs (the last descendants, as it happens, of the Irish leather-skinned craft of the Middle Ages); not enough human interest to arouse more than an abstract concern over the fate of the little family. The footage is spectacular, and oh! what a film the BBC documentary section might have made out of it -- what an incestuous thriller the silent-era Hitchcock might have concocted around that scenery and those lives...Flaherty contrives the astonishing feat of making it both remarkably boring and oddly uninformative.

This is a magnificent portrait not only of a dying way of life (dying in 1934 and still dying) but a portrait of the human struggle to find life in the most desolate of places. The photography is magnificent, the pacing is perfect and the piece transcends culture and even the very idea of "documentary" film. But this is true of all of Flaherty's films. Flaherty wasn't a documentarian. He didn't purport to be a disinterested observer (whatever that is). He staged his films, this has never been in dispute and he never made any attempts to hide the fact. He referred to films he made as "travel films", a phrase common in the 1930s. Make no mistake this film is a piece of art.

I suppose this movie will always be controversial as a "documentary", but as a narrative about primal Man vs. Nature, this is a very good film. The shots of the sea and the intertitled emphasis on it are used almost to the point of pure abstraction, as it boils, shifts, foams, slaps, storms, and retreats while the characters try to stay alive against formidable (and if the documentary were actually true, impossible) odds.Flaherty's true focus seems to be more on the idea of the matter than the historical actuality of it. He shows these documentaries as testaments to the power of the human spirit against a world of impossible coldness and odds, and it definitely shows in the way he makes his characters small against huge landscapes and environmental effects. Still, the persistence of Man to Flaherty is heroic, and it's hard not to appreciate that sentiment in what is really a very powerfully edited and shot film.--PolarisDiB

This review is being written by a man who absolutely despises everything about realist style films. However, Flaherty's depiction of life on the Isle of Aran captivated me from start to finish. Filled with inaccuracies and misrepresentations, Flaherty would have been lying through his teeth to have called this a documentary (the man of Aran wasn't even from Aran). Man of Aran remains realist however in that, I believe, in that it only speaks to you if you hold a connection to the sort of life it depicts. Flaherty brings forth the essence of that life but will only hold your interest if you actually care how someone might farm in a soilless field of broken rock.If that isn't your bag, you can still at least enjoy Flaherty's visuals. Waves pound against rocky cliffs sending spray a hundred feet high. It is quite a spectacle.