The Best Canadian Movie, Ever?

I had heard some good things (and some bad) about the movie The Trotsky, but I admit I was not fully prepared for how good this thing would be. I enjoyed it so much, I can't even tell you how good it is. You should just see it yourself.

So, with that - move over Porky's - The Trotsky really may be the best Canadian movie. I only add the "may" because I haven't seen every Canadian movie ever made... But I am not really stressing the maybe. It is only a technicality. Maybe.

New in Town (2009)

I've heard the risque chestnut that women try anal sex twice: Once to see what it is like; the second time to see if it really was as bad as she remembers. Well, I am not commenting on anal sex, but I can say that that saying pretty much perfectly describes my experience with the dreadful New in Town (2009).

And, yes, it was as bad as I remembered.

It seemed innocuous enough: A fish-out-of-water romantic comedy about a no-nonsense business exec (the ever-pouting Renee Zellweger) coming from Miami to downsize a small Minnesota (a place I tend to like on film) factory. Sparks fly between her and the local union boss. (Played Harry Connick Jr - why is he in so many romcoms? He looks like someone's ugly cousin.)

Will love ensue? You're right in assuming so. In fact, from the opening credits, you are likely right in every single last prediction you have about this movie. It really is that paint-by-numbers. It makes not one step in the region of originality.

But, hey! It's a genre pic, so I don't hold formula against it. Actually, it can be really relaxing and comfortable to settle in and watch a movie that doesn't surprize you. If it amuses, that is. Sadly, this one does the opposite - it aggravates, annoys and angers. (Attractive and alluring alliteration, that.)

First, the locals do have that external "we're so simple and friendly, dontcha know?" feel that so many of these films have, but this appearance is completely belied by the constant cold nastiness they show towards Zellweger's character. I mean, I understand that being a corporate suit in hard economic times comes with a "kick me" sign, but these people are horrid. Over and over again. And it makes little to no sense to have a factory full of people who are supposed to be worried about losing their jobs be completely insubordinate and unwilling to work. This movie, whether it intends it or not, is one long explanation of why American factories are being shut down in favour of workers less filled with a feeling of entitlement in other places. Places where people might actually want to work. (Even I got that message from this film, and I am pro-union!)

Second, there is no chemistry, whatsoever. Not just between the heavily botoxed Zellweger (seriously - NO expression, ever) and Harry Ratface Jr, but in general. Nothing has any charm. Nothing is likable. There is no magic, or even anything approximating magic. Just a bunch of actors who look miserable, pissed off and wishing to be elsewhere. Sort of like the audience.

Not even J.K. Simmons was enjoyable, and I usually adore him - especially as middle class working guy smart asses, which he normally plays perfectly. I think he is one of the greatest character actors of our times, in fact. In this, he does give a twinge of effort, and does manage to produce the only bearable moments in the film, but even his obvious screen charisma is not enough to make this film worth the retinal power.

Finally, the lighting. Oh holy hell, the lighting. Now, I know Renee is no spring chicken any more, and her skelator incarnation doesn't really compete with her winsome cuteness in Bridget Jones, in my opinion, but she is hardly ugly. In New in Town, though, she would have to work hard to come up to the beauty level of sea hag. Between her lifeless, stringy hair and her pitted, lackluster skin, she should sue the makeup, hair and lighting departments on this film. And toss in the costuming department for making her reminiscent of Cruella deVil, only in search of simple rural souls instead of puppies. She looked and acted like a dissatisfied marm. Even when they had the obligatory "casual letting the icy guard down for the male lead for some chit chat on the sofa" scene, she had all the appeal of a Socialist charwoman. What on earth did she do to the DP to make them treat her this way?

Of course, she has no one to blame but herself for the bad botox.

But Zellweger's attractiveness (or lack thereof) is not the only lighting sin. Really, the whole movie has this thick, unappealing pea soup look to it that really doesn't scream "romcom magic." (Though, I guess it does capture the spirit of industrial drudgery.) Just a bit of care in the film craft could have gone a long way to make this less offensive to the human spirit. Dismal is the only word for the whole bloody mess.

Now, I have seen reviewers blame all this on having a foreign director who perhaps didn't understand how American romantic comedy is expected to look. That might be the case, I don't know. But I do know if you have a formula film, you at least have to present it well. This film failed on all scores.

So, why did I watch it twice? The first time I saw it, I had purchased it extremely cheap, previously viewed (note I'm not saying "previously enjoyed"), as I thought it was a harmless enough thing to take up an evening. The second time, I watched it because I had trouble believing it really was as bad as I remembered it being. Indeed, it may have been worse.

I am writing this now to save you the trouble of even seeing it once. Don't bother. If you wish to see a film in the classic subgenre of city slicker coming to a small town to save a small factory full of quirky characters, rent the highly (highly!) superior, Kinky Boots - so superior, I cringe even to mention it in the same post as this piece of dung. Another that comes to mind is the likable Spotswood (aka The Efficiency Expert in American release). Or the memorable and bold 1996 flick Brassed Off! These are all fine films that show how small communities can pull together to control their destiny in the face of corporate anonymity, and, in the process, transform the individual. And all three have some enjoyable romantic elements.

New in Town seems to want to focus more on the romance than the industrial aspect, which would be fine if the romance actually worked. In the end, it failed at both.

Don't waste your time.

Lawrence of Arabia (1962)

This week, we went from Tommy Douglas to Gandhi (1982), in our filmic quest for courage in the face of adversity. The last few nights, however, I have gone from Father of a Nation seeking independence to something of an imperialist warmonger, albeit one whose heart may have been in the right place - T.E. Lawrence. (That is to say, Lawrence seems to have thought he was fighting for the freedom of the colonial "Arabs," even though politicians later ruined this vision.)

The 1962 film, which made the young but powerful Peter O'Toole a star, is something of an "Eastern" - as opposed to a "Western." Mounted Arabs hoot and ululate as they diverge on trains waiting to be looted - sheik versions of old Republic Pictures "Indians." Yet, it is not as simple as all that. Like T.E. Lawrence's writings themselves, this film doesn't only exist in state of attraction for the masculine virtues of war - it also seeks to problematize courage as a form of madness, a preoccupation Lawrence seems to have had in his own life. In this, this film is even more worth the viewing. On the surface, it is a war epic, but underneath, it explores the futility of violence and the insanity of killing. And the anticlimax of victory in a world where there seem to be no definitive goods and evils.

I have owned his film for some years, and have seen it a handful of times, but this must have been the first time I actually watched it. I cannot believe I never realized the scene in which Lawrence was captured by the Turks and beaten was a thinly veiled rape scene, obscured so as to not offend the viewers of the early-60s. Perhaps we modern audiences are obtuse when it comes to the subtly of sexuality in classic film, no matter how well versed we are. A homosexual rape would not have been as ham-fisted as we are now accustomed to in the post-Deliverance era. In understanding the import of this scene, the movie falls into place for me so much better than it did in my youth. Before, I could make no sense of the total personality change in Lawrence as a result of a simple beating. A beating and brutal gang rape (which is also alluded to in Lawrence's own writings) would much better account for his transformation from heroic, confident youth to worn and partially demented husk. In this, too, the film succeeds in interrogating old myths - Lawrence refuses to cry out in pain as he is beaten, but allows his wounds to fester in silence and break his soul. We are left to ponder what is truly the most courageous way to deal with suffering.

I have often felt this film is worth it for the cinematography and that amazing score, alone - not to mention O'Toole's eccentric and oddly majestic performance. Now, adding to that my increased understanding of the film's deeper meaning, and I am beginning to realize just how artful this film really is.

Prairie Giant: The Tommy Douglas Story (2006)

Seemingly continuing some sort of unintentional social credit movie marathon, I have followed up Our Daily Bread with the well made CBC miniseries on the life of the "Greatest Canadian," Prairie Giant: The Tommy Douglas Story.

Aside from a strange, seldom-acknowledged penchant for eugenics in his youth, Douglas is just about as complete a hero as you can get in this country, and Prairie Giant clearly plays to that legendary aspect of the small, bespectacled preacher from Saskatchewan. Painting an impressionistic landscape of Douglas' rise from Depression-era radical social-democratic minister to demonized "Red Menace" in the '50s to the 1970s leader of the nubile NDP, this miniseries is fairly informative (keeping in mind that it is TV, after all), hits Douglas' greatest hits (especially in terms of speeches and his iconic role in the founding of socialized medicine in Canada), and is actually quite slick for a Canadian TV production. It's enough to make the Captain Canuck in all of us bust a button or two.

At about 3 or 4 hours long, it's quite an extended lesson, but I find that it doesn't drag and manages to hold the attention and the imagination throughout. Some details are a bit dodgie (they show Douglas as actually present at the Estevan "riot," for instance, when he wasn't), but you do come away feeling bigger than when you started watching.

It's a fable of social ethics and of what people can do when they put their fellow humans first - for that, it's well worth a look.

(Also strongly recommended is the NFBC's Tommy Douglas: Keeper of the Flame, 1986.)

100 Days, 100 Movies

Well, actually, I am not setting myself a day or movie limit/assignment, but I had to call the post something, so there you have it.

My life is kind of the pits right now, what with post-school identity crisis, unemployment and those pesky wolves at the door who respond to neither garlic nor Wolf-B-Gone®, so, really, who the heck wants to hear about me? Therefore, I have decided to get back to my film buff roots, and start posting more film reviews and such.

I might even live up to the blog's subtitle and focus a lot more on silent films. (Been thinking of changing the subtitle and even the title of this blog, though it'd be strange to have a new blog title after 5 years.)

I generally watch a movie (or some TV on DVD) a day, anyway, so I think I will start posting a review a day, with some videos when I can - no promises, though, as I am sure I will miss some days, or have Real Life stuff crowd in on the action. However, writing reviews is good for my brain and skills, and a lot more fun than whining (which I am sure I will still do from time to time), so I think I will revert to that.

That is, of course, if I don't get evicted in July when I can't pay the rent.

La-di-da, la-di-da.

Gold Rush (1925)

This is the re-release of the Gold Rush, as narrated by Chaplin himself. They sure don't make films like this any more. This was the first Chaplin film I ever saw, which makes it a real milestone. I don't know what I expected, but the 1990s teenage arrogance in me likely figured comedy before the 1960s all involved buggies and old men slapping their knees a lot - I know that I wasn't prepared for how awesome this film is. The chicken scene completely slays me. Still ranks as one of the funniest comedies of all time, in my humble opinion. Truly a classic.

On a personal note, I'm glad to be getting back to my film roots with this blog.

Our Daily Bread (1934)

When times are tough, I turn to this movie. The tot and I watched it again this evening, and it still has a positive impact on me.

Perhaps the acting leaves a lot to be desired (aside from my favourite 1930s character actor John Qualen, who is always wonderful), and the print is pretty awful, but this film, once you get past all the corny (pun only half intended), can be deep-down inspirational.

After going bust in the city, "big ideas" man John Sims and his wife relocate to a dirt farm donated by a relative. Not knowing anything about farming, John happily accepts a hand from marooned Swedish farmer Larsen (Qualen) who went bankrupt in Minnesota and ran out of gas on their road.

When the Larsen family shares with John and the Mrs their rabbit stew, John gets an idea - a collective farming village, peopled with all manners of tradesmen and their families to share the work, the resources and the profits. At first only interested in the practical trades, such as carpentry and plumbing, John soon realizes their commune has a place for all manners of folks. There is a bit of dramatic de-railing with passion and pessimism come slinking in, but the social fabric retains its strength, and the community re-knits together even stronger than before.

The film takes us through several ups and downs of Depression-era life, including food shortages and droughts, but also gives us highs, such as the moment they first see the shoots of their new life spring through the ground, and the climatic final moments of humanity's triumph over adversity.

Corny, yes. But really a statement about the human spirit, and what can be achieved through hard work, unflagging optimism, self-control and common decency. It is a remarkable testimony to the strength and perseverance of the 1930s "back to the land" farmers, who refused to be licked by hard times, which is all the more touching for being produced as the suffering continued across North America and beyond. It's a type of Christian Socialism that was killed off by the Cold War, and one we likely won't ever see again. And it does us good to witness it.

In terms of its zeitgeist and sense of purpose, Our Daily Bread is one of the top 10 pictures of the 1930s, in my books, and is not to be missed. Enjoy!

A Little Something Different

So, long story short - I've got to learn PhD-level stuff about Yiddish film. Fast.

Thus, I thought I would share, and encourage you to learn along side me.


Enjoy!

18 Days til D-Day

I am frigging exhausted. Tot decided to resist sleep until nearly midnight tonight, so I am stuck staying up much later than I had hoped to get today's allotment done before sleep. But, I did my consistency check for Canadian spelling, and got rid of some of the one-shot things I wanted to fact check (i.e. Does Ostjuden have an umlaut? What exactly is the plural for bildungsroman in the Anglicized form?).

I also revamped the Spanglish section, having viewed it again tonight. (I think this will be a consistent process throughout the next few days - I will re-visit 30 film descriptions in the dissertation over the next few weeks as a I re-watch the films. Re-watching a handful of the 50 or so films I look at in the dissertation is essential prep for Q&A, as in some cases I have not seen the films I describe in a year or two. If someone asks me a question about a movie I watched a couple times back in 2006 or 2007, I am basically toast unless I make sure to refresh my tired memory.) On the plus side, I was reminded how much I do enjoy that movie, so prep is not all grunt work!

OK, now to read over my job app once more and then hit the hay - finally, thank heavens!

Films I Could Have (Would Have Liked to Have) Done More With

In case people ask, there were indeed films in this dissertation that I had to neglect, trim or skim over.

Some films I wish I had have spent more time on:

• Spanglish
• Mrs Delafield Wants to Marry
• Brooklyn Babylon
• Yentl
• Hester Street
• The Apprenticeship of Duddy Karavitz
• Two Lovers
• Flannel Pajamas
• Giving it Up
• Reality Bites

(I am sure there are more; I will update this list as I progress in my preparations.)

Viewing Schedule for Defence Prep

• Sun, May 2: Spanglish (2004)
• Mon, May 3: Fiddler on the Roof (1971)
• Tues, May 4: Corrina, Corrina (1994)
• Wed, May 5: Gentleman’s Agreement, (1947)
• Thurs, May 6: Chariots of Fire, 1981
• Fri, May 7: Keeping the Faith (2000)
• Sat, May 8: Along Came Polly (2004); There’s Something About Mary (1998); Meet the Fockers (2004); Meet the Parents (2000)
• Sun, May 9: Dirty Dancing (1987); When Harry Met Sally... (1989)
• Mon, May 10: Cemetery Club, The (1993)
• Tues, May 11: Prime (2005)
• Wed, May 12: Liberty Heights (1999)
• Thurs, May 13: Two Lovers (2008)
• Fri, May 14: Believer, The (2001)
• Sat, May 15: Sophie’s Choice (1983); Walk on the Moon (1999); Wedding Singer, The (1998)
• Sun, May 16: Way We Were, The (1973); What’s Up Doc? (1972)
• Mon, May 17: Crossing Delancey (1988)
• Tues, May 18: White Palace (1990); Price Above Rubies (1998)
• Wed, May 19: Zelig (1983); You Don’t Mess with the Zohan (2008)
• Thurs, May 20: Annie Hall (1977)

Wake Up Call

I finally saw Coraline tonight, and I must say I enjoyed it - it was really quite well written for a 3D movie (which usually seem like they didn't have writers, only animators who hoped everyone would be too busy gasping "whoa!" and pawing the air for whatever whizzbanger appeared to be floating from the screen into their face-space to notice there was little else to the movie), and the atmosphere was captivating.

I hope to try the 3D side of the disk at some point in the near future - tonight, I correctly decided that 3D glasses would be ruined almost instantaneously by riotous toddler. Nevertheless, it was a good time without the whizzbangers.

Though, I must admit tales about a small child who escapes into a fantasy world because her parents are too busy with work (at computers) to be caring, present and enjoyable does cut a little close to home. *gulp*

Note to self: Never snap at tot over the rim of a coffee cup and across a keyboard from a pinched, bag-eyed face... In a white turtleneck sweater, at least. OK, that last part, I think I can do.

:(

Now the Bad News

Well, Paper Heart has been achieved. A pseudo-documentary by Charlyne Yi seeking eternal truths about love, in which one eternal truth is delivered with resounding clarity: There is certainly such a thing as way too much Charlyne Yi.

*SPOILER*(Side note: This would have been a much better film had Charlyne and the "director" paired up in the end.)*SPOILER*

So, I have managed to treat myself to some new-ish movies, and am enjoying myself, but the trailers (which I normally do not watch, but was dumb enough to do so this time) have given me a few more to add to my "Missed in 2009" list:

• The Men Who Stare at Goats
• Extract

Getting the feeling here that I will never catch up.

Annie Hall: TNG

_

By comparing (500) Days of Summer to Annie Hall, I am not mocking either film. Far from it. Both are majestic in their humanity - of dreams gained and lost; of the consumption of love and what we do to our experiences in post-production. Annie Hall is a film I return to again and again; I have a feeling (500) Days of Summer will be likewise. Non-linear, but with a whimsical sense of fun that never falls into the cloying, (500) Days of Summer is a film that should not be missed.

I can only be relieved neither of the lead characters were Jewish - this film could have easily demanded chapter re-writes. I simply cannot say enough about it. When it ended, I wanted to re-start it. That should say enough.

Adventureland (2009)

_

Well, I finally broke down and hit the Blockbuster for some previously-viewed fun (see my list from Friday). I loaded up on hipster-rom-coms, with Adventureland, (500) Days of Summer and Paper Heart. After all that, I might end up shagging my hair and getting some grungy jeans with a grey hoodie. Maybe some white ear buds, too. It could be life-altering.

In any case, I finally saw Adventureland, which was one I have wanted to see for a while. Was I wrong? Not at all. I very much enjoyed Adventureland, and have no doubt that I will watch it again, and will show/lend it to others.

For those who have not seen it, Adventureland is set in a 1987 amusement park, in which a young university grad (Jesse Eisenberg) - who is a bit too nice to live in that world - seeks summer employment because his father's money issues have scuttled his hopes of Columbia grad school. Finding a resume of Renaissance lit and lawn mowing is not really pulling in the offers, this claptrap fair is about all he can get, and this is reflected in the ad hoc group of weirdos who have also taken refuge there.

The oddest thing about Adventureland is that I found myself constantly wondering how these "kids" were in bars; for some reason, my head was convinced they were all highschool grads, not college grads. Not many of them have an ounce of conventionally-measured maturity, not even the "grown up" maintenance man, played by Ryan Reynolds (who I have to admit I am finally warming up to a bit). But many of them do have heart; it's just hidden under disappointment. In the end, the film actually plays like a Punch Drunk Love for twentysomethings; a group of slightly-off people swimming in quiet desperation and various intense hatreds. But their issues are funny, so I guess it's acceptable, right?

It might not be great art, but, then, who says that is required of every film?

However, one thing it does have: Martin Starr. Where has this guy been since Freaks and Geeks, and why didn't I realize how much I missed him? Actually, he has been doing things since F&G, according to his IMDb, but I guess I didn't notice him; I have only a vague recollection of him in Knocked Up. Clearly, his roles over the past while have not been as startlingly effective for mounting for his talents as this one. I am reminded how much of a fan of this guy I really am. For that reason alone, it was worth seeing Adventureland, and I hope we get to see more of Starr, who, for me, was the real highlight (and centre of much of the drama and emotion) of this movie.

Adventureland predictable, falls into the ridiculous myth that pot is somehow an essential to transformative experiences, and commits that crime of first complicating relationship problems for drama only to over-simplify relationship problems for the conclusion, but it's still well worth watching.

So, I was correct on that one... Can't wait to see how I fare on the other two.

***
ETA: Adventureland was also worth adding to my dissertation, to beef up the 2009 film count! Happy happenstance. Gotta love that!

Movies from 2009 That I Wish I'd Seen but Didn't

___

Being that movie theatres are forbidden to me now (toddler + lack of funds), I am stuck waiting for "previously enjoyed" sales to see anything new, and here's the crop of stuff I didn't see this past year (but wanted to).

(In no particular order.)

• Fantastic Mr Fox
• In the Loop
• The Road
• Coraline
• (500) Days of Summer
• Sherlock Holmes
• Adventureland
• The Invention of Lying
• Bright Star
• Crazy Heart
• My Sister's Keeper
• Whatever Works
• Away We Go
• Amreeka
• Le Concert
• My Son, My Son, What Have Ye Done
  
• A Serious Man
• Up In The Air
• I Love You, Man
• Zombieland
• Adam
• Precious
• Cairo Time
• The Soloist
• The Lovely Bones
• Angels and Demons (Because Ewan-as-priest = yumma)
• The Young Victoria
• Cloudy With a Chance of Meatballs
• A Single Man
• An Education
• I Love You Phillip Morris

And whatever Michael Cera was in in 2009 (with the exception of Year One).

And I guess I should add Avatar to this list, though I have about a 7% desire to see it. I know it involves a series of blue cat-people.

I am sure there are many others, but those are the ones I specifically recall missing out on and have not yet seen by other means.

Do let me know if you think I wasn't missing much.

***

ETA: I did read the screenplay for A Serious Man. HAHAHA... How incredibly sad is that? I am reminded of: "I've been reading a lot of scripts lately. You know, it's a lot cheaper than going to the movies." (Can you place that quote without Google?)

Have Some Holly-Jolly R&R

*



Well, marking, proctoring, etc, is all done for the term. Now for a couple days of rest, and a good deal of much-needed deep cleaning on this poor old apartment, before I start back on dissertation revisions on Monday. I also plan on catching up on the mountain of emails in my inbox - sorry folks; combination of "I've been busy," and "yes, I do suck hard."

Some movies on the docket:

Scrooged
Young Frankenstein
... and the whole damned Harry Potter series, except for the one(s) that have yet to be made and released... damn time machine - hurry up and be made.

Anyway,

HAPPY HOLIDAYS, ONE AND ALL!

Song For the Day

Harold and Maude. Great movie, though I tend to avoid mentioning it, as it is going through a stage of popularity right now amongst a certain type of bubblehead who fails to recognize that a lack of dignity is different from a surplus of free spirit. In any case, a song for us all today.

lol - for realz

I had forgotten how much I love this movie - seriously, made me laugh outloud, and not many movies really do that for me beyond a snort or breathy smile. If you have a mom (or if you are one), this movie may do the same for you. Possibly Al Brooks' best work to date (at least since Lost in America), yet sadly under appreciated.

Weekend Update

Made-for-TV never came this chilling. I can't understand how I made it through a criminology degree in Canada without hearing about this guy, but maybe I blocked it out. In any case, an interesting flick - one easily missed, but I do recommend it if you come across it.

Otherwise, spending a quiet weekend watching Roots and finishing up some baby tasks. I finished stitching a dust ruffle for the crib, and am now on to the bundling board. I had forgotten how relaxing sewing can actually be - when I'm not cursing at the thread, that is.