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These are the user uploaded subtitles that are being translated: 1 00:00:08,500 --> 00:00:12,500 Our planet is home to millions of different animals. 2 00:00:20,500 --> 00:00:23,500 The big and the powerful capture our attention. 3 00:00:25,500 --> 00:00:28,500 But there is another story to tell. 4 00:00:28,500 --> 00:00:32,500 Beneath our feet are hidden, almost magical worlds... 5 00:00:34,500 --> 00:00:38,500 ..teeming with extraordinary little creatures. 6 00:00:38,500 --> 00:00:41,500 ELEPHANT TRUMPETS 7 00:00:41,500 --> 00:00:44,500 The world looks very different to them. 8 00:00:46,500 --> 00:00:47,500 A falling acorn... 9 00:00:48,500 --> 00:00:50,500 ..becomes a meteor. 10 00:00:52,500 --> 00:00:53,500 A tiny trickle, 11 00:00:53,500 --> 00:00:54,500 a tsunami. 12 00:00:56,500 --> 00:00:58,500 And every enemy... 13 00:00:58,500 --> 00:01:00,500 is a giant. 14 00:01:08,500 --> 00:01:11,500 Now, using the latest technology, 15 00:01:11,500 --> 00:01:15,500 we can recreate the world from their perspective. 16 00:01:18,500 --> 00:01:20,500 In this episode, 17 00:01:20,500 --> 00:01:24,500 we enter the secret worlds of two urban jungles - 18 00:01:24,500 --> 00:01:27,500 the chaos and commotion of Rio... 19 00:01:29,500 --> 00:01:32,500 ..and the futuristic metropolis that is Tokyo. 20 00:01:39,500 --> 00:01:44,500 These are dramatic tales of life inside the Hidden Kingdoms. 21 00:01:51,500 --> 00:01:53,500 BIRDS CHIRP 22 00:02:01,500 --> 00:02:03,500 HIGH-PITCHED WHISTLING 23 00:02:08,500 --> 00:02:12,500 Tiny marmoset monkeys, 24 00:02:12,500 --> 00:02:15,500 small enough to sit in the palm of your hand. 25 00:02:20,500 --> 00:02:22,500 They're a close-knit family, 26 00:02:22,500 --> 00:02:26,500 at home in the tree tops of the forest. 27 00:02:28,500 --> 00:02:31,500 But this is no ordinary forest. 28 00:02:33,500 --> 00:02:36,500 CAR ALARM BLARES 29 00:02:36,500 --> 00:02:39,500 DISTANT SHOUTING 30 00:02:54,500 --> 00:02:56,500 Rio de Janeiro. 31 00:02:59,500 --> 00:03:01,500 This vast city 32 00:03:01,500 --> 00:03:04,500 crammed with over six million people 33 00:03:04,500 --> 00:03:06,500 is eating into the jungle. 34 00:03:07,500 --> 00:03:09,500 But some jungle creatures 35 00:03:09,500 --> 00:03:12,500 are standing their ground. 36 00:03:22,500 --> 00:03:25,500 The only way to survive 37 00:03:25,500 --> 00:03:28,500 is by making the most of what humans can offer. 38 00:03:35,500 --> 00:03:37,500 For a gang of marmosets, 39 00:03:37,500 --> 00:03:39,500 finding food in the city 40 00:03:39,500 --> 00:03:41,500 means leaving the safety of the trees. 41 00:03:42,500 --> 00:03:46,500 It's a journey fraught with danger. 42 00:03:55,500 --> 00:03:57,500 HIGH-PITCHED WHISTLING 43 00:03:58,500 --> 00:04:03,500 One young male is bold enough to lead the way. 44 00:04:08,500 --> 00:04:10,500 To marmosets, 45 00:04:10,500 --> 00:04:13,500 these power cables are like tree branches... 46 00:04:17,500 --> 00:04:19,500 ..if a little more slippery. 47 00:04:28,500 --> 00:04:33,500 Surveying the streets below, they can spot any opportunity for a meal. 48 00:04:33,500 --> 00:04:35,500 HORN BLARES 49 00:04:50,500 --> 00:04:51,500 The streets of Rio 50 00:04:51,500 --> 00:04:55,500 are strewn with discarded litter. 51 00:04:55,500 --> 00:04:57,500 BACKGROUND CHATTER 52 00:04:57,500 --> 00:04:59,500 CAR HORN TOOTS 53 00:05:03,500 --> 00:05:05,500 CAT MEOWS 54 00:05:05,500 --> 00:05:07,500 CAT PURRS 55 00:05:09,500 --> 00:05:14,500 But they are also patrolled by cats and dogs. 56 00:05:16,500 --> 00:05:17,500 CAT PURRS 57 00:05:17,500 --> 00:05:19,500 CAT MEOWS 58 00:05:24,500 --> 00:05:29,500 To survive, the marmosets must work as a team. 59 00:05:29,500 --> 00:05:32,500 CAT MEOWS 60 00:05:32,500 --> 00:05:34,500 HIGH-PITCHED WHISTLING 61 00:05:34,500 --> 00:05:36,500 Look-outs sound the alarm. 62 00:06:00,500 --> 00:06:05,500 Young marmosets are more inquisitive than the adults. 63 00:06:05,500 --> 00:06:07,500 INDISTINCT CHATTER 64 00:06:16,500 --> 00:06:18,500 The city is so noisy, 65 00:06:18,500 --> 00:06:23,500 it's hard to hear the others calling time to move on. 66 00:06:23,500 --> 00:06:26,500 SIRENS WAIL AND HORNS BLARE 67 00:06:54,500 --> 00:06:56,500 MARMOSETS SQUEAK 68 00:07:03,500 --> 00:07:07,500 The link to the rest of the family has been severed. 69 00:07:23,500 --> 00:07:27,500 He has no choice but to take to the streets. 70 00:07:28,500 --> 00:07:31,500 ALARM BLARES HORNS BEEP 71 00:07:36,500 --> 00:07:39,500 How can this young marmoset survive 72 00:07:39,500 --> 00:07:43,500 without the protection of his family? 73 00:07:43,500 --> 00:07:46,500 HIGH-PITCHED WHISTLING 74 00:07:59,500 --> 00:08:01,500 On the other side of the planet... 75 00:08:03,500 --> 00:08:05,500 ..Tokyo. 76 00:08:08,500 --> 00:08:11,500 With well over 30 million people, 77 00:08:11,500 --> 00:08:14,500 there's barely room for any green space. 78 00:08:17,500 --> 00:08:18,500 This concrete jungle 79 00:08:18,500 --> 00:08:22,500 is one of the most inhospitable places on earth 80 00:08:22,500 --> 00:08:23,500 for wild animals. 81 00:08:27,500 --> 00:08:29,500 But there is one out tonight, 82 00:08:29,500 --> 00:08:32,500 an armour-plated mini monster... 83 00:08:34,500 --> 00:08:36,500 ..a rhinoceros beetle. 84 00:08:39,500 --> 00:08:42,500 Removed from the forest, he's now a captive... 85 00:08:47,500 --> 00:08:51,500 ..and a gladiator. 86 00:08:52,500 --> 00:08:55,500 BELL RINGS Introduced to another male, 87 00:08:55,500 --> 00:08:57,500 all he needs to do 88 00:08:57,500 --> 00:09:00,500 is what comes naturally to him... 89 00:09:03,500 --> 00:09:05,500 ..fight. 90 00:09:14,500 --> 00:09:18,500 The winner is the one who throws the other on his back. 91 00:09:39,500 --> 00:09:42,500 CHEERING AND APPLAUSE 92 00:09:42,500 --> 00:09:44,500 He wins. 93 00:09:45,500 --> 00:09:47,500 BEETLE CHIRRUPS 94 00:09:50,500 --> 00:09:55,500 Beetles usually eat high-energy tree sap. 95 00:09:55,500 --> 00:09:57,500 Here, some fruit will have to do. 96 00:10:00,500 --> 00:10:02,500 Then he's back in the ring. 97 00:10:12,500 --> 00:10:13,500 For their size, 98 00:10:13,500 --> 00:10:17,500 rhinoceros beetles are the strongest creature on Earth - 99 00:10:17,500 --> 00:10:22,500 able to lift over 100 times their own body weight. 100 00:10:31,500 --> 00:10:34,500 Males with longer horns are more likely to win 101 00:10:34,500 --> 00:10:39,500 and this male's horn is as big as they get. 102 00:10:49,500 --> 00:10:51,500 But even he's not invincible. 103 00:10:51,500 --> 00:10:54,500 Nonstop fighting is exhausting. 104 00:10:58,500 --> 00:11:01,500 CROWD GROANS 105 00:11:14,500 --> 00:11:17,500 MAN SHOUTS 106 00:11:18,500 --> 00:11:21,500 No longer a hero, 107 00:11:21,500 --> 00:11:23,500 he's just an unwanted bug. 108 00:11:23,500 --> 00:11:27,500 Now the only hope for survival 109 00:11:27,500 --> 00:11:30,500 is to find an oasis amongst the concrete. 110 00:11:34,500 --> 00:11:36,500 CROWD SHOUT 111 00:11:59,500 --> 00:12:01,500 Back in Rio, 112 00:12:01,500 --> 00:12:05,500 the young marmoset is searching for his lost family. 113 00:12:05,500 --> 00:12:08,500 HORN BLASTS 114 00:12:14,500 --> 00:12:16,500 Down at street level, 115 00:12:16,500 --> 00:12:18,500 he is far from alone. 116 00:12:34,500 --> 00:12:36,500 A cane toad - 117 00:12:36,500 --> 00:12:38,500 quite at home in the gutter... 118 00:12:41,500 --> 00:12:44,500 ..and poisonous to the touch. 119 00:12:48,500 --> 00:12:51,500 RATTLING 120 00:12:51,500 --> 00:12:53,500 The warning rattle of a snake... 121 00:12:53,500 --> 00:12:56,500 HIGH-PITCHED WHISTLING 122 00:12:56,500 --> 00:13:00,500 ..mimicked by a burrowing owl to keep intruders away. 123 00:13:03,500 --> 00:13:07,500 Burrowing owls have adapted well to city life... 124 00:13:10,500 --> 00:13:12,500 ..and even enjoy a trip to the beach. 125 00:13:23,500 --> 00:13:26,500 Rotten food isn't on the menu, 126 00:13:26,500 --> 00:13:30,500 but collecting it is all part of a plan. 127 00:13:36,500 --> 00:13:39,500 Just one more trip is needed. 128 00:13:41,500 --> 00:13:46,500 This time, to visit the local agouti. 129 00:13:48,500 --> 00:13:51,500 Agouti usually live in the forest, 130 00:13:51,500 --> 00:13:56,500 but these have come to feast on scraps left by the residents. 131 00:13:56,500 --> 00:13:58,500 CAR HORN TOOTS 132 00:14:00,500 --> 00:14:04,500 It looks like the owl has hit the jackpot, too. 133 00:14:13,500 --> 00:14:17,500 A crowd this size would never occur in the forest 134 00:14:17,500 --> 00:14:20,500 but here, food is abundant. 135 00:14:20,500 --> 00:14:24,500 The agouti barely notice one more mouth to feed. 136 00:14:27,500 --> 00:14:32,500 Cats, on the other hand, miss nothing. 137 00:14:43,500 --> 00:14:48,500 MEOWING The city owl is too quick for a cat. 138 00:14:53,500 --> 00:14:55,500 Back at the burrow, 139 00:14:55,500 --> 00:14:59,500 it's time to put the plan into action. 140 00:15:05,500 --> 00:15:07,500 WHISTLING It's not long 141 00:15:07,500 --> 00:15:10,500 before visitors are attracted to the smell. 142 00:15:16,500 --> 00:15:20,500 He's been setting a trap all along. 143 00:15:23,500 --> 00:15:27,500 Burrowing owls live on a diet of bugs. 144 00:15:30,500 --> 00:15:35,500 In the wild, owls use animal dung as bait, 145 00:15:35,500 --> 00:15:38,500 but this one has adapted brilliantly to city life 146 00:15:38,500 --> 00:15:42,500 and can now enjoy its own home delivery service. 147 00:15:50,500 --> 00:15:54,500 Life is not proving quite so easy for the marmoset. 148 00:16:00,500 --> 00:16:02,500 Without the rest of the gang to help him, 149 00:16:02,500 --> 00:16:04,500 the youngster is very hungry... 150 00:16:08,500 --> 00:16:10,500 ..and very alone. 151 00:16:25,500 --> 00:16:30,500 In Tokyo, the rhinoceros beetle is not just alone, 152 00:16:30,500 --> 00:16:32,500 but still miles from any oasis. 153 00:16:34,500 --> 00:16:37,500 He does have one trick up his sleeve, though... 154 00:16:40,500 --> 00:16:42,500 ..a huge pair of wings... 155 00:16:44,500 --> 00:16:47,500 ..and the strength to perform a vertical take-off. 156 00:16:55,500 --> 00:16:58,500 He may have escaped the back streets, 157 00:16:58,500 --> 00:17:01,500 but flying around Tokyo's skyscrapers 158 00:17:01,500 --> 00:17:03,500 is a precarious business. 159 00:17:09,500 --> 00:17:11,500 He isn't alone. 160 00:17:11,500 --> 00:17:15,500 The sky is filled with other nocturnal bugs. 161 00:17:25,500 --> 00:17:30,500 Insects normally navigate by the light of the moon. 162 00:17:32,500 --> 00:17:35,500 Tokyo's lightscape plays havoc with their map reading. 163 00:17:42,500 --> 00:17:45,500 Light radiates in all directions... 164 00:17:47,500 --> 00:17:51,500 ..and the confused bugs are lured closer and closer... 165 00:17:57,500 --> 00:18:00,500 ..right into the path of a predator. 166 00:18:10,500 --> 00:18:12,500 RADAR PULSES 167 00:18:17,500 --> 00:18:21,500 The glaring lights don't distract bats. 168 00:18:22,500 --> 00:18:25,500 They see with sound. 169 00:18:28,500 --> 00:18:31,500 Listening to the echoes from its high-pitched calls 170 00:18:31,500 --> 00:18:34,500 allows the bat to form a detailed picture 171 00:18:34,500 --> 00:18:36,500 of the world around it. 172 00:18:57,500 --> 00:19:00,500 A large, clumsy rhinoceros beetle 173 00:19:00,500 --> 00:19:02,500 might seem a tempting target. 174 00:19:08,500 --> 00:19:13,500 One way to avoid capture is to drop out of the sky. 175 00:19:16,500 --> 00:19:20,500 That's one thing a heavy beetle can do well. 176 00:19:29,500 --> 00:19:34,500 Bats aren't the only animals up here feasting on the glut of bugs. 177 00:19:34,500 --> 00:19:36,500 BUZZING 178 00:19:38,500 --> 00:19:42,500 It's warmer in the busy city than in the surrounding countryside, 179 00:19:42,500 --> 00:19:46,500 so very attractive to cold-blooded geckos. 180 00:19:47,500 --> 00:19:52,500 The extra heat speeds up the lizard's metabolism, 181 00:19:52,500 --> 00:19:55,500 allowing it to strike with lightning speed. 182 00:19:57,500 --> 00:19:59,500 In the forests, 183 00:19:59,500 --> 00:20:03,500 geckos hunt on the trunks of tall trees, 184 00:20:03,500 --> 00:20:06,500 so a Tokyo skyscraper is home from home. 185 00:20:09,500 --> 00:20:12,500 Gecko feet can normally stick to anything. 186 00:20:14,500 --> 00:20:19,500 Unfortunately, the tall buildings and the warm city air 187 00:20:19,500 --> 00:20:23,500 can create a problem never found in the forest. 188 00:20:27,500 --> 00:20:29,500 The swirling currents of air 189 00:20:29,500 --> 00:20:34,500 form millions of mini tornadoes. 190 00:20:39,500 --> 00:20:42,500 There's too much turbulence, even for a gecko. 191 00:21:04,500 --> 00:21:09,500 When its grip fails, a gecko can glide to safety. 192 00:21:16,500 --> 00:21:19,500 But he's landed on someone else's patch. 193 00:21:25,500 --> 00:21:30,500 The hungry rhinoceros beetle has gate-crashed too... 194 00:21:36,500 --> 00:21:40,500 ..all in the sight of the deadliest man-eater in Tokyo. 195 00:21:51,500 --> 00:21:54,500 In Rio's labyrinthine streets, 196 00:21:54,500 --> 00:21:57,500 there are endless places for animals to hide. 197 00:22:19,500 --> 00:22:23,500 A leafcutter ant has left the security of its family 198 00:22:23,500 --> 00:22:25,500 to scout for food. 199 00:22:25,500 --> 00:22:27,500 CAR DRIVES PAST 200 00:22:32,500 --> 00:22:36,500 Ants use their antennae to detect food. 201 00:22:40,500 --> 00:22:43,500 This is fuel for the colony. 202 00:22:56,500 --> 00:22:58,500 Within minutes, fellow workers are by her side, 203 00:22:58,500 --> 00:23:01,500 having followed a trail of chemicals 204 00:23:01,500 --> 00:23:03,500 that she has deliberately left behind her. 205 00:23:21,500 --> 00:23:22,500 The ants must work fast. 206 00:23:22,500 --> 00:23:28,500 Down here, exhaust fumes can create a thick toxic smog. 207 00:23:36,500 --> 00:23:40,500 Now they must take the long road home, 208 00:23:40,500 --> 00:23:42,500 back to the rest of the colony. 209 00:23:57,500 --> 00:23:59,500 As the first worker ants 210 00:23:59,500 --> 00:24:03,500 reach the safety of the underground colony, 211 00:24:03,500 --> 00:24:07,500 city life is about to come crashing in on their world. 212 00:24:39,500 --> 00:24:41,500 Washed away from the colony, 213 00:24:41,500 --> 00:24:47,500 any chance of finding the way back seems impossible. 214 00:24:51,500 --> 00:24:53,500 But there's help to guide them. 215 00:24:53,500 --> 00:24:57,500 Despite the flood, the chemical trail is still strong. 216 00:25:01,500 --> 00:25:04,500 A single gram of it would be powerful enough 217 00:25:04,500 --> 00:25:08,500 to create a trail around the entire globe. 218 00:25:17,500 --> 00:25:22,500 Such extraordinary communication and teamwork enables leafcutter ants 219 00:25:22,500 --> 00:25:25,500 to overcome whatever the city throws at them. 220 00:25:34,500 --> 00:25:38,500 The only way marmosets can keep in touch is by calling. 221 00:25:39,500 --> 00:25:43,500 For a moment, the young male thinks his calls are being returned. 222 00:25:43,500 --> 00:25:45,500 SQUEAKING 223 00:25:46,500 --> 00:25:49,500 But the noises of the city can be deceptive. 224 00:25:51,500 --> 00:25:56,500 It's not the call of his family, but the sound of a truck braking. 225 00:25:56,500 --> 00:26:01,500 Down on the streets, there are trucks everywhere. 226 00:26:01,500 --> 00:26:04,500 SQUEAKING AND RATTLING 227 00:26:04,500 --> 00:26:06,500 HORN BLASTS 228 00:26:26,500 --> 00:26:31,500 Back in Tokyo, the beetle has landed in the lair of a man-eater. 229 00:26:44,500 --> 00:26:49,500 This praying mantis is trying to attract a mate. 230 00:26:59,500 --> 00:27:03,500 The breeze will carry her scent to the city beyond. 231 00:27:09,500 --> 00:27:13,500 Out on the town, a male is quickly hooked. 232 00:27:15,500 --> 00:27:19,500 But he's aware of this lady's reputation. 233 00:27:28,500 --> 00:27:31,500 He has to exercise a bit of caution. 234 00:27:39,500 --> 00:27:43,500 This city breeze will work in his favour, 235 00:27:43,500 --> 00:27:45,500 distracting her from his approach. 236 00:27:58,500 --> 00:28:02,500 He's lucky. Most males don't even make it this far. 237 00:28:04,500 --> 00:28:06,500 Success. 238 00:28:08,500 --> 00:28:10,500 But the lady wants more... 239 00:28:16,500 --> 00:28:17,500 His head. 240 00:28:24,500 --> 00:28:26,500 It may look gruesome, 241 00:28:26,500 --> 00:28:30,500 but the extra protein that the female gets from eating him 242 00:28:30,500 --> 00:28:34,500 will actually improve the chance of his young surviving. 243 00:28:51,500 --> 00:28:56,500 A bamboo house plant provides a mantis with all she needs, 244 00:28:56,500 --> 00:29:00,500 but it's not enough for a rhinoceros beetle. 245 00:29:04,500 --> 00:29:07,500 He needs tree sap. 246 00:29:09,500 --> 00:29:14,500 The scent is on the air, but it's drawing him deeper into the city. 247 00:29:34,500 --> 00:29:36,500 Saved by his armour. 248 00:29:43,500 --> 00:29:45,500 A jumping spider - 249 00:29:45,500 --> 00:29:48,500 no bigger than a grain of rice. 250 00:29:54,500 --> 00:29:58,500 Up on a traffic light, the spider is looking for a meal. 251 00:30:06,500 --> 00:30:12,500 These spiders don't make webs. Instead, they hunt. 252 00:30:15,500 --> 00:30:20,500 Using his silk safety line, the spider gets within range. 253 00:30:27,500 --> 00:30:33,500 It locks eight eyes on the target, focuses, jumps... 254 00:30:35,500 --> 00:30:37,500 ..and misses. 255 00:30:49,500 --> 00:30:55,500 In the forest, jumping spiders rarely miss their target. 256 00:31:02,500 --> 00:31:05,500 And they certainly don't miss it again... 257 00:31:08,500 --> 00:31:11,500 ..and again... 258 00:31:15,500 --> 00:31:16,500 ..and again. 259 00:31:25,500 --> 00:31:30,500 In red light, the spider can't judge distance properly. 260 00:31:40,500 --> 00:31:42,500 But when the light turns green, 261 00:31:42,500 --> 00:31:45,500 everything snaps back into focus. 262 00:31:59,500 --> 00:32:02,500 This time, the aim is perfect. 263 00:32:06,500 --> 00:32:10,500 Unfortunately, in a city with this much traffic, 264 00:32:10,500 --> 00:32:13,500 it's only a matter of time before the lights turn red again. 265 00:32:25,500 --> 00:32:29,500 Caught in the rush, the rhinoceros beetle hasn't the energy to fly. 266 00:32:32,500 --> 00:32:36,500 Any chance of finding sanctuary seems impossible. 267 00:32:54,500 --> 00:32:57,500 Night in Rio. 268 00:33:05,500 --> 00:33:08,500 Marmosets normally retreat to the treetops 269 00:33:08,500 --> 00:33:12,500 and huddle together for warmth and security. 270 00:33:13,500 --> 00:33:16,500 This young marmoset isn't so lucky. 271 00:33:18,500 --> 00:33:24,500 Under the cover of darkness, unsavoury characters appear. 272 00:33:35,500 --> 00:33:37,500 SQUAWKING 273 00:33:43,500 --> 00:33:45,500 SQUEAKING 274 00:33:47,500 --> 00:33:51,500 Rats are the ultimate city winners - 275 00:33:51,500 --> 00:33:55,500 opportunists that can adapt to any environment 276 00:33:55,500 --> 00:33:58,500 and consume almost anything they find. 277 00:34:22,500 --> 00:34:25,500 The city offers a tarantula 278 00:34:25,500 --> 00:34:28,500 countless places to make a burrow. 279 00:34:31,500 --> 00:34:33,500 DRAMATIC MUSIC 280 00:34:41,500 --> 00:34:43,500 MUSIC BUILDS 281 00:34:54,500 --> 00:34:59,500 Night also brings out the city's most ruthless hunter. 282 00:35:17,500 --> 00:35:20,500 Silent and supple, with superb night vision, 283 00:35:20,500 --> 00:35:24,500 cats are the kings of Rio's back streets. 284 00:35:30,500 --> 00:35:33,500 And a marmoset's worst enemy. 285 00:36:08,500 --> 00:36:10,500 CAT MEOWS 286 00:36:42,500 --> 00:36:45,500 Even a cat can't match the agility 287 00:36:45,500 --> 00:36:50,500 of a marmoset that's learnt to live on the high wires of Rio. 288 00:36:51,500 --> 00:36:53,500 CATS YOWL 289 00:37:00,500 --> 00:37:05,500 At last, dawn is near, bringing relative safety to the marmoset. 290 00:37:11,500 --> 00:37:15,500 But in Tokyo, dawn brings a beetle's nemesis. 291 00:37:25,500 --> 00:37:27,500 BIRDS CAW LOUDLY 292 00:37:29,500 --> 00:37:33,500 The skyscrapers echo with their calls. 293 00:37:39,500 --> 00:37:42,500 In the forest, beetles bury themselves in the ground 294 00:37:42,500 --> 00:37:45,500 to sit out the perils of the day. 295 00:37:50,500 --> 00:37:53,500 THUD 296 00:37:53,500 --> 00:37:54,500 A crow. 297 00:37:58,500 --> 00:38:01,500 THUDDING 298 00:38:04,500 --> 00:38:08,500 For the beetle, it's like facing a Tyrannosaurus Rex. 299 00:38:11,500 --> 00:38:13,500 With every step, the beetle tests the ground, 300 00:38:13,500 --> 00:38:16,500 looking for somewhere to hide. 301 00:38:35,500 --> 00:38:38,500 Crows are one of the world's most intelligent animals. 302 00:38:42,500 --> 00:38:48,500 They always rise to a challenge, especially where food is concerned. 303 00:39:13,500 --> 00:39:17,500 To a beetle, these wrappers are the closest thing 304 00:39:17,500 --> 00:39:20,500 to burying itself in fallen leaves. 305 00:39:22,500 --> 00:39:25,500 THUDDING 306 00:39:48,500 --> 00:39:53,500 A crow's beak can crack a beetle's armour like an egg. 307 00:40:32,500 --> 00:40:34,500 The beetle makes a break for it. 308 00:40:48,500 --> 00:40:51,500 With size comes strength - 309 00:40:51,500 --> 00:40:54,500 he can force his way between the heavy sacks. 310 00:41:04,500 --> 00:41:06,500 CROW CAWS 311 00:41:37,500 --> 00:41:39,500 CROW CAWS LOUDLY 312 00:41:50,500 --> 00:41:52,500 Safe for a moment, 313 00:41:52,500 --> 00:41:57,500 the beetle catches the scent of trees on the warm air. 314 00:41:57,500 --> 00:41:59,500 At last they're close. 315 00:42:26,500 --> 00:42:32,500 It's a temple - a sanctuary for humanity in the heart of the city. 316 00:42:40,500 --> 00:42:45,500 At last, trees flowing with delicious sap. 317 00:43:14,500 --> 00:43:17,500 The garden has attracted other beetles. 318 00:43:22,500 --> 00:43:23,500 A female. 319 00:43:48,500 --> 00:43:51,500 He's not the only male to be interested. 320 00:43:59,500 --> 00:44:01,500 At last, there's everything to fight for. 321 00:44:10,500 --> 00:44:12,500 He has lost before. 322 00:44:15,500 --> 00:44:19,500 This will be the battle of his life. 323 00:44:47,500 --> 00:44:52,500 He searches for some extra grip, then makes his move. 324 00:45:27,500 --> 00:45:31,500 For the beetle, life has just got a whole lot better. 325 00:45:39,500 --> 00:45:41,500 Back in a world he knows, 326 00:45:41,500 --> 00:45:44,500 he can now spend the rest of his short life 327 00:45:44,500 --> 00:45:46,500 surrounded by everything he needs. 328 00:46:02,500 --> 00:46:06,500 Outside this oasis in the unforgiving world of Tokyo, 329 00:46:06,500 --> 00:46:10,500 only the most resilient and most adaptable can survive. 330 00:46:24,500 --> 00:46:26,500 Dawn in Rio. 331 00:46:26,500 --> 00:46:27,500 It's now nearly a day 332 00:46:27,500 --> 00:46:31,500 since the young marmoset was separated from his family. 333 00:46:35,500 --> 00:46:37,500 Suddenly he hears them, 334 00:46:37,500 --> 00:46:42,500 far over on the other side of the road. 335 00:46:42,500 --> 00:46:46,500 The only way to them is to cross the wire 336 00:46:46,500 --> 00:46:50,500 and he's seen how dangerous that can be. 337 00:46:57,500 --> 00:47:02,500 But the alternative is the danger of life alone. 338 00:48:05,500 --> 00:48:07,500 At last, he's back. 339 00:48:19,500 --> 00:48:23,500 For any social animal, the only way to survive 340 00:48:23,500 --> 00:48:28,500 is with the support and protection of friends and family. 341 00:48:37,500 --> 00:48:40,500 Only a few animals have the skills 342 00:48:40,500 --> 00:48:43,500 to meet the challenges of city life. 343 00:48:45,500 --> 00:48:48,500 But for those who can, there are great rewards. 344 00:48:52,500 --> 00:48:57,500 With over half the world's population now living in cities, 345 00:48:57,500 --> 00:49:02,500 animals and humans are forced to live side by side. 346 00:49:06,500 --> 00:49:09,500 Wherever you are, you're never far 347 00:49:09,500 --> 00:49:13,500 from the tiny heroes of the Hidden Kingdoms. 348 00:49:37,500 --> 00:49:40,500 Marmosets are the miniature stars of Rio. 349 00:49:40,500 --> 00:49:45,500 Mastering life on the electric cables is key to their survival. 350 00:49:47,500 --> 00:49:51,500 To show the marmoset's high-wire perspective 351 00:49:51,500 --> 00:49:54,500 required a whole range of filming techniques. 352 00:49:54,500 --> 00:49:59,500 But before filming could even start, we had to find the monkeys. 353 00:50:08,500 --> 00:50:12,500 Cameraman Mark Payne-Gill and director Gavin Maxwell 354 00:50:12,500 --> 00:50:15,500 have filmed monkeys in the jungle countless times. 355 00:50:15,500 --> 00:50:20,500 Filming monkeys in the urban jungle is a whole new challenge. 356 00:50:25,500 --> 00:50:28,500 This is good down here, lots of trees and wires. 357 00:50:29,500 --> 00:50:32,500 This way. There, over there. There. 358 00:50:32,500 --> 00:50:34,500 The traffic, the people and the buildings 359 00:50:34,500 --> 00:50:38,500 make keeping up with the marmosets surprisingly difficult. 360 00:50:40,500 --> 00:50:42,500 It's a bit daunting to start with, 361 00:50:42,500 --> 00:50:44,500 all the motorbikes and all the people and all the noise. 362 00:50:47,500 --> 00:50:49,500 I think they are up here. Up that alley way, that way. 363 00:50:49,500 --> 00:50:52,500 Argh, this is so frustrating. They are always one step ahead of me. 364 00:50:52,500 --> 00:50:56,500 The monkeys always have the advantage of their aerial runways, 365 00:50:56,500 --> 00:51:00,500 leaving Gavin and Mark trailing behind. 366 00:51:05,500 --> 00:51:08,500 Marmosets are so agile. There's nothing in their way, really, 367 00:51:08,500 --> 00:51:10,500 whereas I've got to navigate all these streets, 368 00:51:10,500 --> 00:51:13,500 go round corners and I can lose them very quickly. 369 00:51:13,500 --> 00:51:15,500 And then, of course, they can go back that way. 370 00:51:16,500 --> 00:51:20,500 To try to beat the traffic, they head up to higher ground 371 00:51:20,500 --> 00:51:21,500 and a better vantage point. 372 00:51:26,500 --> 00:51:29,500 Just when they think they've found the answer... 373 00:51:29,500 --> 00:51:32,500 DOG BARKS 374 00:51:32,500 --> 00:51:34,500 HIGH-PITCHED WHISTLING 375 00:51:34,500 --> 00:51:37,500 RADIO PLAYS FROM CAR 376 00:51:44,500 --> 00:51:46,500 So it's not going that well. 377 00:51:50,500 --> 00:51:53,500 It's probably one of the hardest places 378 00:51:53,500 --> 00:51:54,500 I've ever come to film monkeys 379 00:51:54,500 --> 00:51:58,500 in all the years that I've been filming them in jungles, in their natural habitat. 380 00:51:58,500 --> 00:52:02,500 After three days racing round the hectic city, 381 00:52:02,500 --> 00:52:06,500 they still don't have a single decent shot of a marmoset. 382 00:52:08,500 --> 00:52:11,500 To increase their chances of finding a settled troop, 383 00:52:11,500 --> 00:52:14,500 the two decide to split up. 384 00:52:15,500 --> 00:52:17,500 I think I can hear one down here. 385 00:52:17,500 --> 00:52:18,500 'Mark, I've got some up here. 386 00:52:18,500 --> 00:52:21,500 'There are about four of them up on the hill now.' I'm on my way. 387 00:52:21,500 --> 00:52:24,500 'Come on, quick, quick.' 388 00:52:31,500 --> 00:52:33,500 Gavin has found an area 389 00:52:33,500 --> 00:52:37,500 where a family of marmosets come together to socialise. 390 00:52:37,500 --> 00:52:39,500 They're doing some really cool stuff. 391 00:52:40,500 --> 00:52:42,500 Finding them is one thing, 392 00:52:42,500 --> 00:52:45,500 but now the crew need to encourage the group to stay around 393 00:52:45,500 --> 00:52:47,500 as long as possible. 394 00:52:47,500 --> 00:52:50,500 It will take time to get the monkeys used to their presence. 395 00:52:50,500 --> 00:52:53,500 We're trying to mimic their calls and make a very high-pitched call. 396 00:52:53,500 --> 00:52:56,500 So I'm going to go... Sss! 397 00:52:56,500 --> 00:52:58,500 Sss! 398 00:52:58,500 --> 00:53:00,500 That sounds nothing like them. 399 00:53:01,500 --> 00:53:04,500 A proper recording might do better. 400 00:53:09,500 --> 00:53:12,500 We're on Led Zeppelin at the moment. Hang on. 401 00:53:12,500 --> 00:53:14,500 I'm sure they like heavy metal, but not today. 402 00:53:14,500 --> 00:53:16,500 There we go, there we go. Listen to that. 403 00:53:16,500 --> 00:53:20,500 RECORDING PLAYS OF MARMOSET SQUEAKS 404 00:53:21,500 --> 00:53:24,500 It certainly seems to help and over the next few days, 405 00:53:24,500 --> 00:53:26,500 the group start to ignore the cameras 406 00:53:26,500 --> 00:53:28,500 and the crew get some key shots. 407 00:53:28,500 --> 00:53:32,500 It means we can get some really nice behaviour of them 408 00:53:32,500 --> 00:53:34,500 just doing what they do normally. 409 00:53:34,500 --> 00:53:36,500 Now it's time to get closer 410 00:53:36,500 --> 00:53:38,500 to see what life on the wires looks like 411 00:53:38,500 --> 00:53:41,500 from the marmosets' own perspective. 412 00:53:43,500 --> 00:53:46,500 We're just slowly, slowly building their trust. 413 00:53:52,500 --> 00:53:55,500 They want to get the camera as near as possible. 414 00:53:58,500 --> 00:54:00,500 But those are high-voltage cables 415 00:54:00,500 --> 00:54:04,500 and there are enough reminders that the wires are live. 416 00:54:10,500 --> 00:54:13,500 If we can get the marmosets running along the wires here, 417 00:54:13,500 --> 00:54:15,500 literally we'll be looking eye to eye to them. 418 00:54:27,500 --> 00:54:28,500 He's really using his tail then, 419 00:54:28,500 --> 00:54:31,500 to keep himself balanced when he's running quickly like that. 420 00:54:37,500 --> 00:54:40,500 From this unique viewpoint, 421 00:54:40,500 --> 00:54:43,500 the acrobatic skills of the marmosets come sharply into focus. 422 00:54:43,500 --> 00:54:46,500 How on earth does it do that? He's up on a wobbly wire 423 00:54:46,500 --> 00:54:50,500 and he leaps over another marmoset and lands on the wire again. 424 00:54:50,500 --> 00:54:51,500 That's incredible. 425 00:54:55,500 --> 00:54:57,500 They leap from wire to wire 426 00:54:57,500 --> 00:54:59,500 and for a moment they're just in midair. 427 00:54:59,500 --> 00:55:01,500 I think that looks really dangerous. 428 00:55:01,500 --> 00:55:03,500 Eventually the crew reach the limits 429 00:55:03,500 --> 00:55:06,500 of how much more they can safely achieve here. 430 00:55:08,500 --> 00:55:11,500 They will need to move to a more controlled environment 431 00:55:11,500 --> 00:55:14,500 to film their stars in any greater detail. 432 00:55:17,500 --> 00:55:21,500 Leaving the glamour of Rio behind them, 433 00:55:21,500 --> 00:55:25,500 they head to a small shed... in Cumbria. 434 00:55:25,500 --> 00:55:30,500 Here, in a wildlife sanctuary, lives a troop of marmosets - 435 00:55:30,500 --> 00:55:34,500 the high-wire stunt doubles for the next phase of the filming. 436 00:55:37,500 --> 00:55:40,500 First the marmosets' home needs to be transformed 437 00:55:40,500 --> 00:55:43,500 into a special effects studio. 438 00:55:44,500 --> 00:55:46,500 Using a blue screen will allow them 439 00:55:46,500 --> 00:55:50,500 to superimpose images of Rio in the background. 440 00:55:50,500 --> 00:55:53,500 For the marmosets themselves, 441 00:55:53,500 --> 00:55:56,500 there's a state-of-the-art slow-motion camera. 442 00:55:56,500 --> 00:55:59,500 We're going to use this to show how agile they are 443 00:55:59,500 --> 00:56:01,500 and how they can actually grip on to the wire 444 00:56:01,500 --> 00:56:05,500 and what's going on as they're moving at such high speed. 445 00:56:05,500 --> 00:56:08,500 Once the studio is set up, it doesn't take long 446 00:56:08,500 --> 00:56:11,500 for the curious marmosets to take an interest. 447 00:56:15,500 --> 00:56:20,500 Unfortunately, it's an interest in our cameras rather than the wire. 448 00:56:24,500 --> 00:56:26,500 Oi, get off my lens. 449 00:56:27,500 --> 00:56:30,500 They're everywhere except on the wire. 450 00:56:30,500 --> 00:56:32,500 The wire is over there. 451 00:56:33,500 --> 00:56:35,500 Here we go. 452 00:56:35,500 --> 00:56:37,500 It's not long before these intelligent monkeys 453 00:56:37,500 --> 00:56:39,500 are exploring the wires... 454 00:56:43,500 --> 00:56:48,500 ..and it's all captured in super-slow motion. 455 00:56:48,500 --> 00:56:50,500 OK, well, that's very, very promising. 456 00:56:50,500 --> 00:56:52,500 Rolling. 457 00:56:59,500 --> 00:57:03,500 Now it's time to replicate the acrobatic leaps 458 00:57:03,500 --> 00:57:04,500 made by their cousins in Rio. 459 00:57:04,500 --> 00:57:08,500 Yeah, I guess it's exaggerated by the wide-angle lens as well. 460 00:57:08,500 --> 00:57:10,500 One at a time, they're queuing up. 461 00:57:10,500 --> 00:57:15,500 But will our stunt doubles show the same level of skills? 462 00:57:15,500 --> 00:57:17,500 Oh, wow. Oh, that's lovely! Wow, that's nice. 463 00:57:17,500 --> 00:57:20,500 It's like he's floating in the air in that one. 464 00:57:22,500 --> 00:57:26,500 Very pleased. Hello. Hello. Oop! He's pleased as well. 465 00:57:26,500 --> 00:57:28,500 Well, final shot of the sequence. 466 00:57:28,500 --> 00:57:31,500 What I want is a big close-up. 467 00:57:33,500 --> 00:57:36,500 It's one small leap for a marmoset... 468 00:57:36,500 --> 00:57:40,500 and one extraordinary shot. 469 00:57:40,500 --> 00:57:43,500 Hey! Brilliant. 470 00:57:43,500 --> 00:57:49,500 The Cumbrian marmosets are just as agile as their Brazilian relatives. 471 00:57:57,500 --> 00:58:00,500 Throughout the whole series, 472 00:58:00,500 --> 00:58:03,500 the combination of wild filming and special effects 473 00:58:03,500 --> 00:58:05,500 has enabled us to recreate 474 00:58:05,500 --> 00:58:10,500 the extraordinary lives of the heroes in the Hidden Kingdoms. 36300

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