On Sight a film by Alastair Lee

Reviewed by Ian Smith     

This is not just a very good climbing film; it’s a very good film full stop. And why, well, because it seems to me that Lee has gone back to first principles and has mastered the ‘documentary’ elements as espoused by John Grierson, who is credited with the definition of the documentary film as ‘creative treatment of actuality’. In my opinion this confirms that Lee is maturing into a very accomplished filmmaker indeed.

What has he done so well? Apart from a mastery of the technical elements of filmmaking he has taken a core idea, that of the importance of the ‘on sight’ ascent in climbing, and created a film that sustains and explores this tenet in a unified and entertaining way.  However, if you are expecting a continuous string of hard ‘on sights’ then you’ll be wrong for, as Leo Houlding says early on, what’s important is the ‘on sight attempt’ and in this film many of the sequences fall into this definition. Those that show successful ‘on sights’, and I’ll not give the game away by telling you which, are completely gripping; many of the others although not showing successful ‘on sights’, still thrill.

My only problem with this, and it is addressed at times in the film, is the inference by some of the climbers that the ‘on sight’ is the most valid form of meaningful climbing at the upper levels. This is particularly aimed at the idea that ‘on sighting’ involves a greater degree of mental control and is more emotionally intense.  Taking this to its conclusion is the inference that sport climbing and headpointing are inferior forms of climbing. While this may be true the evidence would suggest otherwise, just watch the films of Steve McClure on Overshadow at Malham for how emotionally intense a long-term sport project can be. Or Dave Macleod on Rhapsody or Neil Bentley on Equilibrium to witness the torture that a top end headpoint project can create for a climber. ‘On sighting’ may well be the ‘purest’ form of climbing and is something we perhaps should all aspire to, but it shouldn’t be regarded as the ‘best’, rather just another one of the wonderful ‘Games Climbers Play’.   

Lee is well-served by his collaborators on this film, as the list of people who have shot various parts of the climbing footage, along with himself and Ian Burton, shows.  There is undoubtedly some superb camerawork on display but what raises the bar for this film are two other elements. The first is the editing, which is purely down to Lee. It does what all highly skilled technical work does, it doesn’t show. It’s just right, it flows, it moves, it carries you along without you noticing it. The section towards the end where the footage of Neil Dickson on Margins of the Mind on Cloggy is intercut with Ricky Bell on his first ascent of an E7 at Fair Head is quite superb. The second element is the music, in my opinion the best I’ve ever heard on a climbing video; how refreshing to get away from electro percussion, heavy rock guitars or pan pipes. In particular some of the orchestral style underscoring is perfectly judged and balanced, subtle and emotive.

Lee says that he is now planning a bit of a break from filmmaking, he deserves it, the effort that he has lavished onto ‘On Sight’ is considerable and it shows. However, I really look forward to what he does next because his skills and talent suggest that there are more great films to come. In the meantime buy this and enjoy it, it’s definitely worth repeated watching.   

You can find more details about the film and purchase it at www.posingproductions.com or check out your local retailer where stocks should now be available.

Alastair Lee at the On Sight Premiere in Sheffield.

Photo © David Simmonite

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