The 1984 Canadian cinematic gem, \"Waterwalker,\" from the National Film Board, showcases the journey of filmmaker and nature enthusiast Bill Mason. He traverses the serene Ontario wilderness by canoe, sharing his profound insights on artistic expression, the natural world, and the joy of exploring untamed landscapes.
The film unveils Mason's artistic prowess in both visual arts and cinema, as he articulates his continuous mission to convey his profound encounters with nature. Initially a commercial artist, Mason found himself irresistibly drawn to the wild, dedicating extensive periods to wilderness expeditions and sustaining himself with commercial work to fund his next adventure. Eventually, he embraced filmmaking as a means to vividly depict the splendor he witnessed.
As Mason meticulously refines a landscape painting, he muses on the challenges of filmmaking, noting that straightforward depictions can sometimes fail to captivate. He recounts an instance where producers, upon reviewing his footage, insisted on incorporating dramatic elements like plane crashes, injuries, and animal attacks, much to his dismay. Mason's work, fundamentally devoid of antagonists, stood in stark contrast to their commercial approach, which he found deeply misaligned with his vision.
Mason's canoe serves as both a literal vessel for his travels across Lake Superior and Ontario's water systems and a metaphorical medium for exploring themes of spirituality, the environment, artistic inspiration, and the timeless allure of water. His journey begins on Lake Superior, as he navigates upstream towards an undisclosed origin.
The film's structure deviates from a conventional linear plot, instead wandering through Mason's expedition. It pauses to highlight striking natural scenery and delve into his philosophical reflections. Throughout his encounters with wildlife, unexpected canoe capsizes, and painting sessions, Mason consistently returns to his steadfast canoe. He treasures his traditional wood-and-canvas craft, acknowledging its impracticality compared to modern alternatives, yet drawn to its aesthetic charm. Similarly, he rejects contemporary tents, preferring the classic open-front A-frame, also known as a Baker or Labrador tent, for its timeless design.
Mason's fervent desire to showcase nature's splendor was fueled by a strong environmental conviction. Through his paintings and films, he implores viewers to appreciate and protect the land. During his travels, he observes ailing birch trees and hears distressing news about acid rain. He remarks, \"You witness firsthand the impact we're having on the environment.\" Even a seemingly untouched waterfall, far from human intervention, evokes a bittersweet sentiment, as he foresees the inevitable encroachment of development. Bill Mason's passing in 1988, at the age of 59, left behind an influential body of work, particularly his documentaries like \"Waterwalker.\" Over three decades later, his powerful message—the urgent need to cherish and coexist harmoniously with the natural world—remains more pertinent than ever.