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NATIONAL GEOGRAPHIC DOCUMENTARY FILMS<br />
<br />
JANE<br />
<br />
BY TONY GERBER<br />
PHOTOGRAPHS BY HUGO VAN LAWICK<br />
‘You may have heard my story before,’<br />
Jane Goodall told her audience at a 2015 lecture. “But it’s like a campfire tale—it gets<br />
better with each telling.” Her story is instantly recognizable from the many times it’s<br />
been written, broadcast, or otherwise sent into the world: A young Englishwoman<br />
conducts chimpanzee research in Africa and winds up revolutionizing primate science.<br />
But how did it happen? How did a woman with a passion for animals but no<br />
formal background in research navigate the male-dominated worlds of science<br />
and media to make enormous discoveries in her field, and become a worldfamous<br />
face of the conservation movement? This is that story.<br />
Jane became widely known because of a film,<br />
Miss Goodall and the Wild Chimpanzees, which<br />
came out in 1965 and was produced by National<br />
Geographic. She hasn’t seen it in years. But now<br />
I’m playing it for her on a laptop at the West London<br />
home of a friend. The primatologist, 83 this<br />
year, studies her 28-year-old self.<br />
“Think how fun it would be to be that age<br />
again,” Jane says with a smile. The young Jane<br />
on the screen is hiking through the forest of<br />
Gombe Stream Game Reserve in what is now<br />
Tanzania. She’s wearing high-top canvas sneakers<br />
and khaki shorts, and her blond hair is in the<br />
ponytail that became her signature. She appears<br />
to be doing field research—but in reality, Jane<br />
says, she was reenacting events from her first six<br />
months at Gombe so that photographer Hugo<br />
van Lawick could film them. Those months had<br />
been a remarkable period of solitude and discovery,<br />
a time before cameras were present. They’ve<br />
AFRICA<br />
GOMBE N.P.<br />
Lake<br />
Tanganyika<br />
KENYA<br />
Nairobi<br />
TANZANIA<br />
NGM MAPS<br />
REALITY TV<br />
Once Jane and Hugo married, the focus of the human interest<br />
frame widened to include them both. This shot required a second<br />
<br />
<br />
BECOMING JANE 37