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Filming, Preserving ‘The American Serengeti’ of Montana

The winner of the International Wildlife Film Festival's Best Made in Montana award takes on the vast task of profiling about 3 million acres that will someday make up the American Prairie Reserve.

By Jule Banville, 5-06-11

Producer Andy Mitchell on location in Montana during the winter of 2009. Photo courtesy of National Geographic Television.

Producer Andy Mitchell on location in Montana during the winter of 2009. Photo courtesy of National Geographic Television.

Years from now, when the official American Prairie Reserve stretches 3 million acres, Ken Burns’ team may show up, as they did in the National Parks, to tell the story of who made it happen and how.

But right now, the story of protecting the grasslands largely contained in Montana and traveled by Lewis and Clark is still in progress. What “The American Serengeti,” a new National Geographic film screening this weekend at the 34th International Wildlife Film Festival, makes clear is that there is a lot of work still to be done before this ambitious, possibly unrealistic, dream can become real.

An unfinished story, of course, is still worth telling and this one doesn’t need Ken Burns when it has writer/producer and NatGeo veteran, Andy Mitchell. Mitchell’s film, the winner of the IWFF’s Best Made in Montana award, will be shown in Missoula’s Roxy Theater Saturday at 3 p.m.

Narrated by Tom Selleck, the film mainly follows the efforts of the American Prairie Foundation, which is undertaking a massive project to connect millions of acres of grasslands, larger in size than Yellowstone National Park, but without the in-your-face grandeur that it and other parks of the West offer. 

Above all, “The American Serengeti” attempts to answer why protecting this prairie is as important, perhaps more so, as leaving more majestic views undeveloped.

In the grass, species flourish. Without protections, fences go up that halt pronghorn in what the movie calls North America’s “largest and least-understood migration.” Entire towns of prairie dogs, the canaries in this coal mine, disappear. Bison die off in epic numbers.

“In less than 100 years,” Selleck’s narration intones, “all the herds are gone.” But the land is primed for the pure American bison’s rebirth, an idea that anchors the movie’s narrative.

In 2005, the World Wildlife Fund and the American Prairie Foundation worked together to transport 16 disease-free bison from South Dakota to settle south of Malta, Montana. It’s a grand experiment to see if the animal that dominated this land can still thrive here.

When filming got under way, that herd had grown to 87 and we, the viewers, are told to anticipate the magic number – 100 – that will indicate this herd’s return to health.

Along the way, Mitchell glances across several more species and the people fighting for their survival.

We meet conservation soldiers like Molly Web, whose work with the eggs and offspring of pallid sturgeon has literally helped resurrect a prehistoric species.

We see a wildlife biologist looking in the dead of night for the bright, glowing eyes of black-footed ferrets as he checks to see if their numbers have slipped below the 12 he last counted.

We get a sense from Kristy Bly what it’s like to watch five of the six prairie dog towns known to exist here die off because of the plague.

The stories of elk, grizzlies, wolves, cougars and migrating birds are all represented here in some fashion. Ultimately, though, the real star of the film and the prairie is that lumbering, unmistakable bison.

By the end, a cow is giving birth to the 100th calf. But it’s not necessarily a happy ending. This is nature, after all, on land where these animals were once eradicated. It takes time to come back, a lesson it seems those backing a national preserve of millions of acres probably get better than most.

In the meantime, the world and land filmed by Mitchell and his crew is still beautiful, still vast. And even though we may be a good distance from seeing it preserved forever in the name of the American people, at least we are reminded by “The American Serengeti” why such a thing should eventually come to pass.




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