How I Filmed Nanook of the North

The Walrus Hunt

HOW I FILMED NANOOK OF THE NORTH
The Walrus Hunt
by Robert Flaherty


Ai s luck would have it the first film to be made was the walrus hunt. From Nanook, I first heard of the “Walrus Island” which is a small island far out at sea and inaccessible to the Eskimo during the open water season since it is far out enough so as not to be seen from land.

On the island’s south end, a surf-bound beach, there were, in summer, Nanook said, many walrus, judging from signs that had been seen by a winter sealing crowd of Eskimo who, caught by a break up of the ice, had been forced to live there until late spring, when, by building an umiak of driftwood and sealskins and by digging out the open water lands of ice which had not yet cleared from the coast, they succeeded in getting on to the mainland. Nanook was very keen about my going, for, as he said, “It is many moons since I have hunted the summer walrus.

When I had decided upon taking the trip the whole country-side was interested. There was no lack of applicants for the trip. Everyone gave me some particular reason why he should be included in the expedition. With an open-seas boat twenty-five feet long rigged with a leg-o’-mutton sail we started, a throng of Eskimo, their wives, children and dogs assembled on the beach to see us off.

A few miles from the Post we reached the open sea when for three days we waited on the coast for easy weather in order to undertake the crossing. We finally reached the island one day at nightfall, and landed on what was nothing but a low waste of bed rock and boulders a mile and a half long and the whole of its shoreland ringed with booming surf. Around the luxury of a driftwood fire (driftwood is rare on the mainland) we lounged far into the night, speculating mainly on what chances there might be for walrus. As luck would have it just as we were turning in, from Nanook suddenly came an exclamation “Iviuk! Iviuk!” and the bark of a school of walrus resounded through the air. When early the next morning we went over, we found much to our disappointment that the walrus herd had gone into the sea again but presently one after another and near the shore the heads of a big school of walrus shot up above the sea, their wicked tusks gleaming in the sun. As long as they were in the water no films could be made and we returned again to the camp. For the next two days we made almost hourly trips to that beach before finally we found them—a herd of twenty—asleep and basking in the sand on the shore. Most fortunately, they lay at a point where in approaching, we could be screened from their view by a slight rise in the ground. Behind the rise I mounted the camera and Nanook, stringing his harpoon, began slowly snaking over the crest. From the crest to where they lay was less than fifty feet and until Nanook crawled to within half that distance toward them none took any alarm. For the rest of the way, whenever the sentinel of the herd slowly raised his head to look around, Nanook lay motionless on the ground. Then when his head drooped in sleep, once more Nanook wormed his way slowly on. I might mention here that the walrus has little range of vision on land. For protection he depends upon his nose and so long as the wind is favorable one can stalk right into them. When almost right in amongst them, Nanook picked out the biggest bull, rose quickly and with all his strength landed his harpoon. The wounded bull, bellowing in rage, his enormous bulk diving and thrashing the sea (he weighed more than 2,000 pounds), the yells of the men straining for their lives in their attempt to hold him, the battle cry of the herd that hovered near, the wounded bull’s mate which swam in, locked tusks, in an attempt to rescue—was the greatest fight I have ever seen. For a long time it was nip and tuck—repeatedly the crew called to me to use the gun—but the camera crank was my only interest then and I pretended not to understand. Finally Nanook worked the quarry toward the surf where he was pounded by the heavy seas and unable to get a purchase in the water. For at least twenty minutes that tug-o’-war kept on. I say twenty minutes advisedly for I ground out 1,200 feet of film.

Our boat, laden with walrus meat and ivory—it was a happy crew that took me back to the Post, where Nanook and his fellows were hailed with much acclaim. I lost no time in developing and printing the film. That walrus fight was the first film these Eskimos had ever seen and, in the language of the trade, it was a “knock-out.”

The audience—they thronged the post kitchen to the point of suffocation, completely forgot the picture—to them the walrus was real and living. The women and children in their high shrill voices joined with the men in shouting admonitions, warnings and advice to Nanook and his crew as the picture unfolded on the screen. The fame of that picture spread through all the country. And all through the year that I remained there every family who came wandering into the Post begged of me that they be shown the “Iviuk Aggie.” After this it did not take my Eskimo long to see the practical side of films and they soon abandoned their former attitude of laughter and good-natured ridicule toward the Angercak, i.e., the White Master who wanted pictures of them—the commonest objects in all the world! From that time on they were all with me. When in December the snow lay heavy on the ground the Eskimo abandoned their topecks of sealskin and the village of snow igloos sprung up around my wintering post. They snow-walled my little hut up to the eaves with thick blocks of snow. It was as thick walled as a fortress. My kitchen was their rendezvous—there was always a five-gallon pail of tea steeping on the stove and sea biscuit in the barrel. My little gramophone, too, was common property. Caruso, Farrar, Ricardo-Martin, McCormick served their turns with Harry Lauder, Al Jolson and Jazz King orchestras. Caruso in the Pagliacci prologue with its tragic ending was to them the most comic record of the lot. It send them into peals of laughter and to rolling on the floor.

Excerpted from the September 1922 issue of The World’s Work, which also included “Is the Gorilla Almost a Man” by Carl E. Akeley, inventor of the pancake camera, and “American History in Moving Pictures” by Hawthorne Daniel.