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Archive for the ‘Canadian Cinema’ Category

Goon (Canada 2011)

Posted by Roy Stafford on 26 April 2014

Seann William Scott as the bloodied enforcer on the bench (from http://www.anonlineuniverse.com/2012/07/goon/)

Seann William Scott as the bloodied enforcer on the bench (from http://www.anonlineuniverse.com/2012/07/goon/)

Goon is billed as a ‘sports comedy’. It can also be more narrowly defined as a comedy about ‘minor league’ sport and it’s related to the sports biopic since the story is loosely based on the brief career of Doug Smith who wrote a book about his time as an ‘enforcer’ in minor league ice hockey from 1988 through to the late 1990s. The film could also be described as a ‘comedy-drama’. An ‘enforcer’ is a semi-official ‘fighter’ in an ice-hockey team whose job is to protect the team’s star player and also to intimidate the other team. Because ice hockey has always been a very physical game, governing bodies have tolerated a certain amount of violence on the ice. Some spectators are also keen to support enforcers. This violence is obviously attractive to filmmakers as it enables various conventional storylines and provides narrative devices to pep up genre narratives. The best-known ice hockey comedy focusing on violent play as a deliberate tactic is probably Slapshot (US 1977) in which Paul Newman is directed by George Roy Hill.

I missed Goon on release in January 2012 in the UK and I’m glad I caught most of it on Film4 last night. I found the film interesting for several reasons. First, I always find Canadian genre pictures have a different flavour to them even when, like Goon, they involve Hollywood stars. Second, the milieu of the minor or ‘semi-pro’ leagues takes the narrative into small-town locations with a more authentic working-class feel. Goon is a slight disappointment in this regard since, presumably for financial support reasons, most of the film was made in Manitoba around Winnipeg when the action in the story is supposed to be located in Eastern Canada. The enforcer’s team is the fictitious Halifax Highlanders. Even so, it is interesting to see a film that purports to be featuring St. Johns Newfoundland at one point.

The central character, the ‘goon’ is played by the American Pie actor Seann William Scott and the ‘villain’ – Ross Rhea, the legendary enforcer in the league – is played by Liev Schreiber. Writers Jay Baruchel and Evan Goldberg have developed the character based on Doug Smith so that he was adopted by a Jewish family (the father played by Eugene Levy, another actor internationally famous because of American Pie). Doug feels ‘stupid’ because his father and his brother are doctors and he works as a bouncer. An incident when he is watching a hockey game leads him to try out as an enforcer and he becomes successful. The narrative then leads him towards a showdown with the Schreiber character, while a sub-plot covers his relationship with the man he is there to protect, a former ace player who despises Doug because he is not a skater or a good hockey player. The ‘comedy’ in a film that is more bloody than funny is partly derived from the romcom strand. I thought this worked quite well. Doug off the ice is rather sweet and quite stoical in his attempts to woo Eva (Alison Pill). This trope, i.e. the sweet guy outside the sporting arena, is familiar from boxing pictures but it works here as well. I should point out that as well as the violence, the language is also very harsh – this may be why so many sports fans like the film.

Directed by Michael Dowse (whose CV includes directing the UK comedy It’s All Gone Pete Tong in 2004) the film seems to have earned most of its $6 million+ box office in Canada and the UK with just a limited US release.  North American sports pictures generally don’t do as well at the international box office as they do domestically. Ice hockey is popular in Northern Europe (Sweden especially) and Russia and the film does seem to have reached these territories, though perhaps only on DVD. I read that the violence tolerated in the US/Canada is not acceptable in European leagues so I’m intrigued as to what they made of the sport-based content. The rest of the narrative is universal in appeal and I think that clearly Canadian content probably helps sell the film in small towns in other countries – the IMDB message board for the film has a lively discussion of the Canadian accents in the film (which to my inexpert ear didn’t seem as pronounced as in some other Canadian films). As a Brit I find ice hockey to be the most accessible North American sport possibly because of its important role in Canadian culture. I’m still grinning at the sight of large posters depicting the Queen in the various arenas in the film. I’ve never seen that at a UK venue (but perhaps others have?).

Canadian trailer:

Posted in Canadian Cinema, Comedies, Sport on Film | Tagged: , | Leave a Comment »

BIFF 2014 #19: Diego Star (Canada-Belgium 2013)

Posted by Roy Stafford on 9 April 2014

Isaka Sawadogo as'Traoré' on the Diego Star

Isaka Sawadogo as ‘Traoré’ on the Diego Star

Portrait Without BleedFor several years Bradford’s International Film Festival offered the opportunity to see anglophone Canadian films that rarely got a UK release. Unfortunately there don’t seem to be any this year. Instead the festival has picked up on the recent successes of Québécois cinema such as the films of Philippe Falardeau, Kim Nguyen, Jean-Marc Vallée, Xavier Dolan and Denis Villeneuve creating a stir wherever they have been shown. Will the next in line be Frédérick Pelletier with Diego Star? I think it deserves to be and already the film has begun to win prizes at international festivals.

I’m a fan of Canadian cinema and very impressed by the recent Québécois films that I have seen and I was pre-disposed to enjoy this film. It didn’t disappoint. Bradford screened a Pelletier documentary short before the feature and this set up expectations with its portrait of a retired seaman and his wife in their small house in the city of Lévis on the southern bank of the St. Lawrence opposite Quebec City. Diego Star uses the same location and tells a simple but powerful story.

The title refers to a cargo ship registered in Cyprus with a crew comprising a Russian captain and a crew from Africa, the Middle East and further afield. The ship breaks down and is to Lévis on the St. Lawrence seaway with one of the biggest shipyards in North America. The crew are offered accommodation in Lévis at the shipping company’s expense while the ship’s problems are investigated. The ship’s second engineer is an experienced sailor from Ivory Coast who tends to be known as ‘Traoré’ since his personal name is too long/difficult to remember. Early on we realise that he is a man of principle who has told the captain several times that the ship’s engine needs to be serviced. Traoré is billeted on Fanny, a young single parent who needs the money for his bed and board to supplement her wage from kitchen work in the shipyard’s cafeteria. At first hesitant about being too friendly towards Traoré, she soon realises that he is a family man who is good with children and she accepts his help with her infant.

The Canadian authorities question the crew about the ship’s service record but most of the crew are prepared to keep quiet as they are still owed their wages for the last trip. Traoré decides to tell the truth believing that the authorities will support him. But he soon discovers that the company have suspended him – withdrawing his right to enter the shipyard. Fanny loses his bed and board allowance and their friendly tentative relationship breaks down. Traoré finds himself without any support in a country he doesn’t know. Diego Star is a bleak tale and, without giving away what happens, there is no artificial happy ending.

I think this is tight, muscular filmmaking with terrific performances by the two leads played by Isaka Sawadogo and Chloé Bourgeois. Both Traoré and Fanny are abused by the system and struggle to maintain relationships in which others let them down. The overall aesthetic is a form of social realism probably more akin to the French mode of Laurent Cantet in Ressources humaines (France 1999) or the earlier work of the Dardennes Brothers than to the social melodramas of Loach in the UK. We do learn about Traoré’s family through the photographs he places in his room and the interaction with Fanny and her child and the film does move into a dramatic final sequence, but always without non-diegetic music. Pelletier doesn’t resort to any kind of conventional narrative devices. He deals in the realities of the lives of sailors far from home and a young woman facing the problems of bringing up a child in difficult economic circumstances. The film looks very good and the freezing Canadian winter (beautifully captured in the stately progress of the snow blower moving down the narrow street) is almost another character in the drama. This was one of the most impressive films that I saw at BIFF and is highly recommended.

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Stories We Tell (Canada 2012)

Posted by Roy Stafford on 14 July 2013

Sarah Polley (right) with cinematographer Iris Ng. Image from National Film Board of Canada, Ken Woroner.

Sarah Polley (right) with cinematographer Iris Ng. Image from National Film Board of Canada, Ken Woroner.

I was very much looking forward to Sarah Polley’s film. I hoped that I would enjoy it and I did – very much. This is a wonderful film in many different ways. A great deal has been written about the film and so I’m wary of spoilers. Having said that I found that the ‘twist’ in the final frames that I’d heard about didn’t seem very surprising after what had gone before. It’s very difficult to say anything about the film’s formal qualities and its overall approach without a SPOILER about how scenes are presented. So if you want to see the film ‘unprepared’, read no further until you’ve seen it all the way through.

At one point in the film Sarah Polley is interviewing her brother and he suddenly stops and says “what is this film about?” (in that Toronto accent that I can’t work out how to write down). Polley hesitates for a moment and then says that it is about many things – and indeed it is. It’s produced by the National Film Board of Canada, famous for the quality and range of its documentary projects. This ‘project’ started in 2007/8 and has had a long time in preparation, shooting and editing during which time Sarah Polley an actress and filmmaker best known for fiction material joined a documentary filmmakers ‘lab’ and was mentored by, amongst others, Wim Wenders.

Ostensibly Polley’s film is a story about the Polley family from roughly 1967 to the present day. It begins as a story told by Michael Polley, Sarah’s father, literally by him reading a narration, presumably based on his own memoir, in a recording studio under his daughter’s watchful eye (and being asked to repeat lines – she’s a perfectionist). But gradually a cast of characters appears, commenting on aspects of the story and in particular on their memories of the only missing family member, Sarah’s mother Diane who died when Sarah was only 11. Eventually too, the story will change its focus to become not just an investigation of the mystery of who Diane was and what she did, but also the truth behind a long-standing family joke that Sarah doesn’t resemble her father.

It did occur to me at one point that this was at least associated with a Rashomon type of narrative – the same story as seen by different witnesses. As similar questions are asked of a group of interviewees, they give similar and sometimes one-word answers. Polley cuts them together in a staccato montage – just as one of the interviewees predicted she would. Now if all the answers to all the questions were the same it wouldn’t be at all like Rashomon, but in fact they do differ slightly at first and then much more as the narrative develops. This is sophisticated filmmaking.

Sarah Polley with the Super 8 camera in one of the interview locations (love the cat).

Sarah Polley with the Super 8 camera in one of the interview locations (love the cat).

At the beginning of the film, Polley ‘exposes’ the artificiality of the interview process. We see the cameras, lights, microphones etc. and hear the embarrassed asides of some of the interviewees. But in the closing sequences of the film, when Polley returns to showing some of these distancing devices, we realise that the layers of meaning and the artifice of constructed documentary realism is much more subtle than we had imagined. We know now that one of the things the film is ‘about’ is documentary itself as a narrative form. The most obvious instance of this – which has certainly ‘shocked’/puzzled audiences – is that Polley has interwoven ‘real’ home movie Super 8 footage of the Polley family with ‘staged’ scenes similarly shot on Super 8 in which actors play the principal ‘characters’ in important scenes set back in the 1970s and 80s. The actors are very carefully chosen and no indication is given as to which footage is ‘real’ and which is ‘reconstructed’. Added to this are further sequences taken from other film archives (Sarah’s parents were well-known Canadian actors and they appear in some of these clips) and footage taken by Polley herself on Super 8  – we actually see her with a camera on a few occasions. Sometimes she cuts between these different sources of digital film and Super 8, showing the same scene in the different formats. The producer Anita Lee tells us in the Press Pack that: “the Super 8 film format is loaded. It already comes with this notion of nostalgia and the past. It’s a medium of a certain time. We associate Super 8 with home movies lost in basements, and we literally searched through people’s basements for the right Super 8 camera”.

The reception of the film is interesting. I suspect it is slightly different in Canada where Sarah Polley is a leading figure in the Canadian film and TV industry, but in the US and here in the UK, while the majority of critics have lauded the film, a minority have seemed to find it slight or indulgent or just not interesting. I can only think that they just haven’t seen things in the film or that they don’t have any interest in families or memories or ‘truth’ – fundamental I would have thought to our existence.

Sarah and Michael Polley in a family photo

Sarah and Michael Polley in a family photo

The film opens with a quote from Margaret Attwood’s Alias Grace (which Polley is set to adapt) and soon after, Michael Polley quotes Pablo Neruda “Love is so short, forgetting is so long”. Polley skilfully pulls at the different skeins of wool in the ball to reveal the complexity of memories and viewpoints and indeed who it is who is trying to exert control over the narrative. Contrary to the reviewer who moaned that the film is too long, I immediately wanted to watch it all over again. On a second and third viewing I think I will learn even more about how the different viewpoints are developed. Polley is fortunate that her siblings and her ‘fathers’ are highly articulate and also, for me at least, very engaging characters. This is certainly one of my films of the year. Please go and see it, and if you haven’t already, do try and catch up with Take This Waltz (2011) and Away From Her (2006), her fiction features which apply the same intensity to family relationships but as comedy-drama and melodrama. Stories We Tell confirms Sarah Polley’s talent as a filmmaker and also marks a triumph for the National Film Board.

Posted in Canadian Cinema, Documentary, Films by women | Tagged: , | 2 Comments »

BIFF 2013 #19: Life Doesn’t Frighten Me (Canada 2012)

Posted by Roy Stafford on 19 April 2013

Jade Aspros as Esther and Igor as King Henry

Jade Aspros as Esther and Igor as King Henry

BIFF19logoI’ve watched quite a few of the shorts at BIFF this year, but most of them haven’t really caught my imagination. This one did. It has a genuine story – an incident with an outcome and recognisable characters. Esther Weary doesn’t enjoy her birthday, which falls on a schoolday that is also Halloween. She imagines herself being persecuted — and then she is. Her nose is too big according to a dreadful little princess. To her consternation her first period arrives on the same day . When she gets home her family are waiting for her. There’s King Henry the pug and her grandfather (played by the great Canadian actor Gordon Pinsent), who is kind and thoughtful but seemingly isn’t prepared for menstruation. All will be well because Esther isn’t ugly and her family love her. That’s it really, except that the story is told again through an animated pop-up picture book which forms the basis of the credits. It’s 14 mins long and director Stephen Dunn tells the story with real imagination and most of all through images. That’s what I want from a short – a whole story, told with imagination in as short a time as possible. I don’t mind a little sentimentalism thrown in as well if it’s tempered by the dark stuff.  Most of the other shorts I’ve seen in BIFF are either avant-garde formal experiments (fine in their own right but not always a good complement to a feature) or they are good ideas without a story or a story without good ideas.

Here’s the lovely trailer:

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BIFF 2013 #11: MDF Films of Toronto

Posted by Roy Stafford on 16 April 2013

Two of the 'users' for whom the daily visit to the pharmacy is part of a social routine.

Two of the ‘users’ for whom the daily visit to the pharmacy is part of a social routine.

BIFF19logoThis screening offered a double bill of recent films from the Canadian independent film producers MDFF or ‘Medium Density Fibreboard Films’. Trying to research the group online I’ve found http://www.mdfproductions.com/ a ‘crossplatform production company based in Toronto’, which I think is connected and a Facebook page which certainly is. I think I need to put my cards on the table here. I’m a fan of many aspects of Canadian culture and I’m always happy to when I see that Bradford has programmed something Canadian since it’s often hard to find the films elsewhere. So I’m pre-disposed to look kindly on this double-bill. But there are some things that can put me off.

The first film screened was East Hastings Pharmacy (Canada 2012) by Antoine Bourges. This a 46 minute fictionalised observational documentary. In other words what we see is a ‘drama’ played out by a pair of actors playing the pharmacists in a dispensary for methadone users in Vancouver. The users are ‘real’ and members of the local community (which, according to the Montreal Documentary fest is the district in Canada with the highest proportion of drug users). The pharmacy was built as a set a few doors down in a shopfront close to the real pharmacy (see an interview with the director here). So, while the film looks like a classic slice of the Direct Cinema school of US documentaries of the 1960s it’s actually much calmer with some of the stress taken out of the encounters at one level, allowing the audience to gradually understand what is happening and reflect upon the lives of the methadone users – which aren’t all grim, even if they are stories of loss. Shauna Hansen as the dispensing pharmacist is very good. She has both strength and vulnerability and we get to understand what the job entails as well as what is happening with the users. The whole film is non-judgemental about the issue of drug dependency and I found watching it a rewarding experience. Here is a brief trailer that conveys the calm observational style (you can also use this link to see the a trailer for the next film, Tower:

 

 

Tower (Canada 2012) is rather different. This is the first feature-length film from MDFF at 78 mins and it has been seen in cinemas, first at the Royal in Toronto. It’s directed by Kazik Radwanski, one of the founders of MDFF with Dan Montgomery. I had no problem with the subject matter of the film but I found it almost unwatchable because of the visual style. Now this may also be associated with watching the film on the IMAX screen, i.e much bigger than it would usually be (standard format films take up roughly a third of the IMAX screen, still much bigger than in a small arthouse screen). Radwanski films everything and everybody in Tower in medium close-up/close-up, even BCU, in shallow focus using a handheld camera. There are just the occasional mid-shots and perhaps a couple of long shots in the whole film. I can see that there is a logic to this and it takes us into the cheerless world of ‘Derek’ a thirty-something man, losing his hair and getting nowhere in terms of work or his social life. We spend the entire film with Derek, still at home with his parents and working part-time for his uncle in the construction business when he isn’t painstakingly creating a computer animation in his basement. We follow him to clubs, desultory dates and social gatherings and in his war against a raccoon which is attacking the dustbin at his parents’ house.

A rare composed MCU of Derek (played by Derek Bogart)

A rare composed MCU of Derek (played by Derek Bogart)

Several of the reviews contrast Canadian cinema’s approach to characters like Derek with their Hollywood equivalents, who would either be ‘redeemed’ or there would be another kind of real ‘closure’ of the narrative. Derek is also compared to literary fiction’s anti-heroes. Again, I can see the connections but I found the visual style so alienating that I couldn’t engage at all. Towards the end of the film I found myself very worried that something bad was going to happen – and I feared most for the raccoon. I should mention also that in the opening scenes Derek gets drunk at a club and when he comes to on the floor of his parents’ home he has a deep gash near the bridge of his nose. This stays with him as a livid scar (as his mother predicted) throughout the rest of the film (i.e. over several weeks). Alas, poor Derek! I think I’ll pass on Tower. The filmmakers clearly have talent and ambition, so it’s probably my loss. The film was presented in English with French subtitles. I wondered if this was a requirement for screenings in certain Toronto or Montreal cinemas? Anyway, it meant that I could practise translations when I found the screen image too off-putting.

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In Darkness (W ciemności, Poland-Germany-Canada, 2011)

Posted by nicklacey on 10 April 2013

Out of the light

Out of the light

A producer may have pitched this as a high concept film where Kanal (Poland, 1953) meets Schindler’s List (US, 1993) without the latter’s saccharine. It’s the true tale of a Polish sewage worker who was paid to look after Jewish refugees from the Warsaw Ghetto. Robert Wieckiewicz plays Leopold Socha whose motivation, at least initially, is wholly pecuniary. It is a strength of the film that the protagonist is represented as a ‘warts and all’ human being and it doesn’t stint upon the Nazi’s atrocities. Both the lead characters are played by charismatic actors new to me, Wieckiewicz plays Lech Walesa in this year’s biopic of the Solidarity union leader; Benno Fürmann plays a German-Jew who doesn’t trust Socha.

The film’s portrayal, based on Robert Marshall’s book In the Sewers of Lvov, of people living in extreme conditions is psychologically acute. For example, the characters’ need for sex is emphasised despite them being ensconced in confined spaces with many others, including children. Jewish racism against the ‘Polacks’ is also shown. The set design, both above and below ground, is immaculate.

The pitch I imagined at the start of the article was, of course, jokey. The film took 22 years to bring to the screen – see this excellent article. The film not only takes us into the darkness of the sewers but also into the darkness of fascism (have you seen the film Mr Di Canio?); this is one of the key functions of  cinema: to take us to places we don’t want to go. In doing so it not only helps us appreciate what we have got but also, viscerally (I was blubbing by the end), helps us to feel the history. It is very difficult, for example, for young people to understand the misery that Thatcherism inflicted (and continues to inflict) upon many people; as a historical figure, the first female British PM, she can seem laudable.

I realise that this is the first film I seen directed by Agnieszka Holland so I have some catching up to do. Her use of the roving steadicam in the sewers conveys the stinking claustrophobia brilliantly and although there a few longuers, in a 145 minute film, they are necessary for the portrayal of human resilience in the face of human evil.

Posted in Canadian Cinema, Polish Cinema | Tagged: , | Leave a Comment »

Midnight’s Children (Canada-UK 2012)

Posted by Roy Stafford on 11 January 2013

Parvati (Shriya Saran) and Saleem (Satya Babha) are two of 'Midnight's Children' with magical powers.

Parvati (Shriya Saran) and Saleem (Satya Bhabha) are two of ‘Midnight’s Children’ with magical powers.

I approached this screening with some trepidation. I read Salman Rushdie’s novel Midnight’s Children in 1982, identifying strongly with its central theme. It felt like the cutting-edge of a fiction in tune with the cultural shifts towards post-colonialist literature. But only a few years later I started to go off Rushdie. I remember a key moment being the attack he made on Black Audio and Film Collective’s film Handsworth Songs in 1987. It’s ironic that Handsworth Songs is now rightly recognised as an important intervention in the development of a Black aesthetic in Britain, whereas Rushdie has lost some of his cultural status. That status appears to have been diminished further with the reception of the film adaptation of Midnight’s Children – scripted by Salman Rushdie who also provides several passages of narration. On its second week of release in the UK, the film was screened only once a day, in the afternoon, in the Vue multiplex at The Light in Leeds. There were just five of us in the audience. This already looks like a lack of confidence from its distributor eOne Entertainment, the new Canadian major .

So, is it as bad as all that? Well, no. I decided not to go back to the book before the screening and I watched in as objective a manner as possible. I was surprised to find myself in tears at the end of the film. That probably says more about me than about the film but in most respects this is a very impressive production. The Indian director Deepa Mehta who makes her films from her Canadian base has achieved what many thought was the impossible feat of adapting Rushdie’s novel with a wonderful cast drawn from the vast array of Indian performers working in India and North America in all forms of cinema. More than sixty location shoots in Sri Lanka stand in for India, Pakistan and Bangladesh. Mehta has said many things about the production and my guess is that she chose Sri Lanka for two reasons. First she had previously suffered from protests by Hindi fundamentalists when she made Water (Canada 2005), the third film of her ‘elements trilogy’. (See my earlier posting about this film.)  She moved that production to Sri Lanka where she discovered that Columbo and its environs has preserved much more of the ‘heritage buildings’ from the colonial period than equivalent cities in India. Midnight’s Children was a much more demanding shoot in terms of locations so Sri Lanka was very attractive. Rushdie’s novel has also been controversial in both India and Pakistan and the shoot was interrupted for a few days when the Iranian government tried to pressurise the Sri Lankans to withdraw permissions. It will be interesting to see what happens when the film finally opens in India (there were protests after its screening at the Kerala International Film Festival). PVR are going to distribute the film in India with a release date of February 1st. I suspect the Indian release will create a stir. I’m not sure if critics and audiences will like the film, but at least they will know the history. It is, of course, unlikely that it will be released in Pakistan except on pirated DVDs. I’m not sure yet whether it will make Bradford – where street demonstrations and a book burning were part of the reaction to Rushdie’s later novel, The Satanic Verses in 1989.

Outline

Rushdie’s long novel (500 pages of dense text in the paperback edition) tells the story of two characters born within seconds of each other at the stroke of midnight on August 14/15 1947, the moment of the end of the British Raj and the birth of two new nations separated by Partition. For reasons explained in the plot, the babies are switched at birth (in Bombay) with the poor child given to the wealthy (Muslim) mother and named Saleem and her ‘real’ son going to the poor Hindu father after his wife dies in childbirth (and named Shiva). As the two boys grow up knowing each other (but not their true identities) in the same district, they gradual discover their special powers, individual to each of the Midnight’s Children born at that one moment across the old Raj. We follow the boys through the major events of the next thirty years when they are separated only to be re-united in very different circumstances towards the end of the story. Rushdie also provides us with further background in the form of the story of  Saleem’s Muslim family since his grandfather first met the woman he was to marry in Kashmir in 1915. This means that we have a story that covers 62 years of tumultuous history in South Asia with the birth of three new countries (i.e. Bangladesh in 1971) and a host of  important characters. It shouldn’t be difficult to work out from this brief outline that a ‘magic realist’ treatment of these events enables Rushdie to create symbols, metaphors and allegories for much of ‘Indian’ history in the 2oth century. The story is essentially about the failure of the children with magical powers to help create India and Pakistan as viable democracies. Rushdie was writing at a time when Indira Ghandi had just been deposed after the period of ‘Emergency’ in 1977.

Production and reception

Rushdie’s novel was seen to be unfilmable, although a stage production was mounted in 2003 (see this review) and Wikipedia suggests that a BBC five part serial was considered in the 1990s (ironically featuring Rahul Bose who appears in Mehta’s film) but not developed when it was feared that there would be protests in Sri Lanka where it was to be shot. Deepa Mehta and Salman Rushdie share a background as diaspora ‘creatives’. Mehta was born in 1950 in Amritsar, Punjab province close to the Indo-Pakistani border created by Partition. Her 1998 film Earth is one of the best Partition films. She and Rushdie worked very closely on the adaptation of Midnight’s Children, agreeing on how much to cut from the novel’s plot to enable a runtime of 146 minutes. It would also seem that Mehta urged Rushdie to write and perform the narration – and that he agreed with some reluctance. I think that on the whole the script works (though I did feel that the last section of the film was less satisfactory in that there were ellipses that seemed to suggest cuts having been made). For me, the one big mistake was the narration. I’m not one of those who never like narration. On the contrary, I like narration when it’s done well and when it fits the narrative style of the film. But Rushdie’s voice is so well-known and his delivery for me was so flat that I winced each time it came on the soundtrack. I think an actor could have ‘performed’ the narrator’s role much more successfully.

The other criticisms of the film seem much less valid to me. Partly, I think, critics in the UK and North America don’t know the history well enough to understand the somewhat schematic presentation of some of the events and they don’t necessarily know much about the different types of Indian cinema or are familiar with the acting talent on display here. Just to take a couple of examples, Kate Stables in what is otherwise a perceptive and balanced review in Sight and Sound (January 2013), refers to “snapshots of Indo-Pakistan wars and cross-border wanderings”. There are two major wars shown in the film, the India-Pakistan War of 1965 and the conflict of 1971 which saw Indian forces crossing into East Pakistan to help secure independence for what would become Bangladesh. I’m not sure what she means by ‘cross-border wanderings’. The Guardian‘s film editor Catherine Shoard refers to “actors perfectly cast to the point of blandness” and music in which “wooden flutes, xylophones and wind chimes patter about on the soundtrack”. The actors include Seema Biswas, Anupam Kher, Rahul Bose, Soha Ali Khan, Kulbhushan Kharbanda and many more known in India as well as the American-based Satya Bhabha who makes a good job of the lead. Perfectly cast, yes. Bland? I don’t think so. Mehta works in a form of parallel cinema that requires actors to work largely (but not completely) in English and to deal with scripts quite unlike those which they would find in mainstream Indian popular cinemas such as Bollywood or Tamil/Telegu. The overall effect is not necessarily as ‘coherent’ as we might expect in the commercial cinemas of South Asia or Hollywood/Europe. It is usually more ‘realist’ but sometimes more expressionist. The fantasy elements of this particular property (largely achieved without CGI) make this seeming contradiction more noticeable. The music in Midnight’s Children is by Nitin Sawhney. If Catherine Shoard doesn’t like his music that’s fine but as a world-class musician, a British Asian with an international reputation, he deserves not to be treated with disdain.

Midnight’s Children is not a perfect film by any means but it is a decent attempt at a literary adaptation that will please the more open-minded of the novel’s many admirers and would also please many new audiences – if they got the chance to see it. Its message of protest about what has happened in India and Pakistan over the years is still something that needs to be shouted out. I think I cried at the end because the film brought together memories of many of my favourite stories from India, partly by reminding me of the films I’ve seen and the novels I’ve read. I’ll try to keep track of what happens to Midnight’s Children in India.

Material on the background to the film’s production has mostly been taken from the Press Pack uploaded by Mongrel Films in Canada.

Here’s the UK trailer which gives some indication of the difficulties discussed above:

Posted in Canadian Cinema, Diaspora film | Tagged: , , , , | 1 Comment »

The French Connection?

Posted by Roy Stafford on 18 October 2012

Rachel Mwanza as Komona and Serge Kanyinda as Magician in War Witch

Cornerhouse in Manchester starts a season of Francophone films from Europe, Africa, the Antilles and Quebec today. It’s an interesting programme compiled by Rachel Hayward and supported by Alliance française de Manchester and the School of Arts, Languages and Cultures at the University of Manchester. I’m helping to teach an associated evening class and I’ll be blogging on some of the films being screened. The Cornerhouse season includes the following titles:

It’s Not Me I Swear! (C’est pas moi, je le jure!, Canada 2008)
Thu 18 Oct at 18:30
A rare opportunity in the UK to see an earlier film by Philippe Falardeau, director of the wonderful Monsieur Lazhar.

Preview
Laurence Anyways (Canada 2012)
Sun 21 Oct at 15:30
The new film by enfant terrible Xavier Dolan which will be on release in the UK and Ireland in December.

Black Shack Alley (Rue cases nègres, Martinique-France 1983)
Wed 24 Oct at 18:30
Another rare opportunity, this time to see a classic film no longer available in the UK. Directed by Euzhan Palcy and based on the book by Joseph Zobel this was a milestone film. I’ll be introducing this screening and posting material on the blog.

War Witch (Rebelle, Canada 2012)
Wed 7 Nov at 18:30
Canada’s entry for the Best Foreign Language film entry for the next Academy Awards. A prizewinner at festivals across the world, Kim Nguyen’s film about a girl forced to become a child soldier in an unnamed African country is one to seek out.

La pirogue (Senegal-France-Germany 2012)
Mon 12 Nov at 18:20
Another of this year’s festival favourites – Moussa Touré’s film about migrants from Africa hoping to reach Europe in open boats.

Preview
Our Children (À perdre la raison, Belgium-Switzerland-France-Luxembourg)
Thu 15 Nov at 20:40
A starry cast: Niels Astrup, Tahar Rahim and Emilie Dequenne in Joachim Lafosse’s film based on a real story about a mother and her children faced with a difficult family situation. The UK release will be in 2013.

Sister (France-Switzerland 2012)
On release during November, please check the Cornerhouse listings.
Ursula Meier’s film about a young boy and his sister starring Gillian Anderson and Martin Compston alongside Lea Seydoux and Kacey Mottet Klein has both English and French dialogue. Meier’s realist style in this film has been compared to that of the Dardennes Brothers.

Posted in African Cinema, Canadian Cinema | Tagged: , , , | Leave a Comment »

 
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