R E v I E w 5 • • thumping stereotype into a man of fas fact, Bob's story as he is the only sur Peter Rowe's vivor of a watery hell that stops just Losn dJpJsc. Peter Rowe assoc.p. Don Wilder line cinating complexity and great pathos. p. Sean Ryerson asst. p. Corinne Farago a.d. Ty HaUer As Jim, Kenneth Welsh has created a short of Bob's murdering his brother. p. coord. Nan Skiba art d. Bill Fleming asst. art d. Lost! classic personification of the Christian Bob, however, knows himself well Tim Bider canst. Mutabilis, Scenic Services, Line and martyr, but the martyr collapses under enough to know he needs Jim - more Design set dec. Lizette St. Gennaine models Gerry Beck standby carp. Ian Greig sd. ree. David Joliat re the burden of guilt he can share with than anything for company - and rec. Tony Van Den Akker efx..edJfoley christopher no-one - he has chosen the route of though he rejects Jim's evangeliCalism, Hutton ADR & dla.ed. Dale Sheldrake mus. rec. corruption and destruction in order to he is prepared to make concessions for Manta Sound mus. compo Micky Erbe, Maribeth Sol omon, Allan Kane asst. eds. Katherine Fitzgerald, be purified. Welsh's characterization of the sake of a companion. Bruce McDonald asst. cam. Wolf Ruck 2nd asst. OSt! is more than a film about a sail Jim is a studied breakdown of a mission When the water rations are down to cam. Roger Finley cam. trainee Andy ing trip that goes awry. Filmmaker ary at the edge of his faith, desperately five days, Bob, his voice and body un Trauttmansdorlf coat. Paule Mercier stills Ben Mark steady, takes a last communion with Jim Holzberg add. cam. (2nd unit) Wolf Ruck (storm) LRowe takes us through a purgatorial clinging to his beliefs. Defying the grav Peter Rowe (sharks) AI Giddings matte photog. Pal· journey away from civilization, as two ity of the catastrophe and his responsi in a final act of bonding with his lette Productions, Mobile Image, Image Transform men and a woman at the mercy of the bility in it, he is prepared to sacrifice ev brother. By now a spiritual bankrupt, ward. Maggie Thomas make-up Leslie Haynes hair sea manage to live in a capsized and up Jim is driven insane and then to suicide Roger Dagliesh key grip Brian Danniels gaffer Steve erything to strengthen his belief in God Hutchison grip Bun Gouweleeuw lighting David turned trimarin for 72 days. - even if it means other human lives. by his brother'S belief in himself. Thornton, Doug Marshall, Ken Smale sp.efx. Frank Ca· But one cannot help suspecting that The acting in the film is finely tuned With Lost!, Rowe has made an in rere 3rd A.D.ldiving coord. Jake Fry deY. John De· the character Jim (Kenneth Welsh), a and textured in rare ensemble perfor credible film that is surely destined to Imge, Jim Bun, Barry Pearson, R.H. Thomson, Sonya Smits, Richard Donat boat wrangler Ratch Wallace, strict fundamentalist, has somehow en mances. Bob's wife, linda (Helen become one of the great sea classics of Keith Lohnes, Brenton Wiebe, Ross Cotterill, Patrick gineered this whole situation to test his Shaver), reveals that she is pregnant on the screen. His subtlety as a writer/di Langille p.assts. Peter Miskimmin, Jamie Watling, own faith and bring his brother Bob the day after the storm while the three rector is evident in the complex and di Owen Uvingstone, unit pub. Prudence Emory p.accts. Lori McNamara, Doreen Davis, craft servo Be· (Michael Hogan) "back to Christ." are hanging onto the upturned boat that verse psychological states that emerge verly KreUer caterers Concen' Caterers equip. P.5. Based on a true story, Rowe makes drifts aimlessly in the sunny sea. Shaver on-screen through some of the finest Production, Services Ltd. process. Film House Ltd. the film into a study of two brothers is magnificent: first, as the good-natured actors working today. Lost! is poetry of neg. cut Unicorn Concepts completion bond Mo· the sea, awesome in its harmony, fear tion Picture Guarantors Ltd. Interim finance]. Brad whose relations are strained under nor buffer between the brothers and then, Heney, Eastworld Films, Peter Michie p.llaison David mal conditions, but under the film's ex as the most vulnerable of the three, the some as an avenger in an infinity that Pears, John Dimon sp. assts. Tony Hall, U.S, Coast treme circumstances regress into a de first to crack up. She begins to distrust transcends human actions. Guard, Etobicoke Yacht Club, Fred Roberts. cast d. structive Sibling rivalry, fueled by If Lost!'s story is a little slow at the Susan Skinner p.c. Rosebud Films Ltd, in association Jim and accuses him of stealing food; with Victor Solnicki Productions and the Canadian elaborate debate about the precepts of then, point blank, of killing her. As she beginning, deliberately concentrating Broadcasting Corporation and with the participation the Christian faith, in which Jim mani dies the yellow light of the oil lamp reo on character development, it quickly of Telefilm Canada I.p. Kenneth Welsh, Helen Shaver, pulates survival options and events to flects off the water and mixes with an becomes a roller· coaster of a film about Michael Hogan, Linda Goranson, Charles Joliffe, Richard Donat, Marc Gomes, Moira Wylie, Michael make the crew more vulnerable and eery blue shadow on her face. The same the wild sea of uncensored human emo Fantini, Stuart Stone, Steve Brinder, Elizabeth closer to God. If the brothers cannot light makes Jim appear both saintly and tions that hauntingly shows us some Rukavina. Tex Konig, Gary Farmer, Errol Slue, 35mm, understand each other, as tolerance satanic as he tells her she is thing of our limitations as human be· col. running time: 9 2 mins. distJworld sales: Sim· limits are met and surpassed in sheer "purified ... free from sin ... Holy.. .ready for ings. com InternationaL survival, the two men begin to know God." each other emotionally. In the process, As Bob, Michael Hogan plays a realist Jim grows from an unsavory bible· with remarkable resilience. Lost! is, in Kalli Paakspuu •
30 tCinema Canada - July t August 1986 • F I L M R E v I E w 5 • Michel Juliani's Instantanes
he photographic instantane, ac cording to one recent definition, is Tan observation of the urban mix as it looks in everyday flux. And that defi nition could serve as a description of Montreal film editor Michel )uliani's first auterial feature (director, produc er editor, scripwriter, etc.) - though one would have to qualify this some what since )uliani's film, as a film, is as much in flux as the mix of five Montreal artists whose everyday life it portrays. Some of the flux can be accounted for by the fact that )uliani's is a feature al most out of nowhere. That is to say, In· stantanes is a film made with minimal institutional support - an NFB develop ment (PAPFFS) grant for some of the negative and some of the sound, and post-production through the good ot: fices of Montreal production house LaGauchet. In other words, it's your typical Canadian personal feature and so shares in both the strengths and the weaknesses of that tradition. And the positive side of that tradition lies in 1) its rejection of insti tutionalized cinema (where an already narrow view of cinema is often rein· forced by the committee process of de cision-making) and 2) its privileging of the validity of the insights of the indi vidual creative artist. The negative side, by its indifference to the possibility of improvements at the general level of cinematic development, tends to be a permanent condition of re-inventing the wheel. And, in this perspective, In· stantanes steers a fairly unsteady course between the two poles. Upfront in its belief in film-as-art (the film's epigraph states that there are art • Instantanes: What is the place of the artist in the modern technoscape? ists who say they are artists but aren't, while there are real artists whose work testifies to the truth of Art), Instan· of the film medium itself: I can't think of the epilogue of the film. Somehow art about the wretchedness of the artist tanes consists offive "chapters," plus an a single fIlm ever made, here or abroad, has happened, and the proof is in the (that is, someone who, by being 'crea epilogue, about five artists: a writer, a that has been adequately able to convey artworks on the gallery walls. Art pre tive', is essentially useless) in a larger musician, a photographer, and two what it means to be a writer. sumably redeems life; life, meanwhile, environment whose emptiness is filled painters (one male, one female). Yet in terms of what psychology the continues to flow along its absurd daily with meaningless purposity. What is an artist? According to In· film does articulate, the most interest course. Finally (and perhaps above all), In· stantanes, a person like any other ing portrait is that of the photographer, Yet what is curious about Instan· stantanes is a statement less in itself as (with all the problems, emotional and not because the film is particularly in tantes is that if one is disappointed it a film than of its auteur's singleminded financial, that entails) except for a sightful about photography, but be isn't a better film, it's not as bad as all determination to make this film no mat greater obsessional disposition expres cause this particular photographer has a that either. Be it the coke-figurines or ter what and whom. Perhaps the next sed (often with great difficulty) via an heavy cocaine habit. Instantanes, in a the party scene of the epilogue, Instan· time round - and )uliani definitely de artistic medium: words on paper, draw truly lovely sequence of dancing metal tanes contains some effective serves a next time round - he'll get a lit ing, painting, photographic composi figures, manages to express, seemingly camerawork and editing. If the loca tle more support in his filmmaking from tion and developing, etc. Each of In with great accuracy, the emotional col tions are mainly interiors, the male art the official cinematic institution which, stantanes' artists (all of them unfortu dness and remoteness of addiction. ist's loft with its eating platform and despite Instantanes' would-be chal nately too young, in~eir early to mid Another fine sequence involves the barbed-wire reading-comer is suitably lenge, always wins in the end - out of twenties) teeters before the creative male painter who is haunted by nuclear bizarre. The film's considerable use of sheer inertia. abyss: the writer can't write, the photo fears. In a powerful use of sound and stills, if eventually overdone, inscribes it Michael Dorland. grapher can't photograph, the musician rapid montage of stills, Instantanes within the venerable Canadian tradition can only improvise. The painters, creates an apocalyptic moment of con of using still photography in film. On INSTANTANES p.ld.lsc.led. Michel Juliani though, do manage to paint. Or because siderable obsessional force. the negative side, though, the sound is cam. Andre Manin add cam. Raymond Gravelle stills Roben DeUsle, Michel Juliani sd Franck Le a painting is visibly representational, it Unfortunately, Instanfa!1.es treat of appallingly bad quality; the music a FJaguais elect. David Poulin make-up Alba Kasfublji can be filmed as an object-in-itself, it is ment of the female artist is merely banal jumbled medley from electronic to easy asst. cam. Germaq Gutierrez. louis Utienne mus. there, and does not require of a film to (except for her completed paintings at listening; the script suffers from not Mathieu Uger p. asst. Dominique JuIJani mus. mhI sd. efx. Andre Dussault (Dusson synchro) mix. Joey do much more than shoot it; the film the end of the film). It's off with her having enough to say; and the acting GaIimi (Cinelume) lab. NFBlBelJevue Pathe paint doesn't have to construct a psychology clothes as fast as possible and straight seems non-existent. ings [jsette Legault, Roger Pilon, Pierre Castagner of creativity. As a result of this over-re into the stow-motion, bouncing titties Even so, for all this formlessness, In· stained glass Mario Bouliane l.p. Lisene Legault. Roger Pilon, Paul Carriere, Mario Bouliane, Pierre Cas· liance on the created thing, Instan· scene. stantanes does manage to convey tagner, Michele Poirier, Monlque Lalancene. France tanes, in its portrayal of the writer for Nevertheless, despite their chronic something of the difficult authenticity Morais, Helene Nadeau, Pierre Legault, The producer example, can only suggest an inexplicit money-worries, emotional hang-ups, required of artistic pursuits in that lofty would like to acknowledge the assistance of Les Pro· torment. This is not perhaps as much etc., the painters succeed in completing little world of the St. Lawrence Main. In ductions LaGauchet in compkting tbis film. col. I b A W, 16mm, running time: 75 mins. dist. Expedifilm the filmmaker's fault as it is a limitation their work for the group show that is this sense, Instantanes also speaks ltee (514) 288·4413.
July I August 1986 - Cinema Canada/31 • F I L M R E v I E w 5 • lover Michael, now married to Julia, MI;\I REYIEWS and accepts their invitation to a din ner party. The couple live in _ by ~at Thompson . Michael's family home, and it brings back to Tom old and fond memories of the affair. visit to the Canadian Filmmakers AT HER COTTAGE The action doesn't stop for the Distribution Centre in Toronto songs - everyones goes on convers Abrought to light a few recent ac The sun shines, the birds twitter, the ing silently as Tom and Michael sing quisitions. All are available from 67A surface of the lake is glassy. A about each other, past shared feel Portland St., 1, Toronto M5V 2M9 woman's voice starts, "Jack is the ings, and present satisfactory states. (416) 593-1808, and West: 1131 whole heart of the town." Her young A bold attempt which holds much Howe St., Ste. 100, Vancouver, B.C. pigtailed daughter plays on the dock. promise for future work. The acting V6Z 2L7 (604) 684-3014. The calm lake and a picnic table, is somewhat stiff, and the music is with its one coffee mug left of not overhwelming, but the film is PLECO centre, are framed by tree trunks. eminently watchable and evokes ad Other stories are told about Jack. miration for the filmmaker's flair and The spotted fish swims before the Mother and daughter go out in a guts. credits. There's a flash of a girl's face boat, and Polaroid shots are taken d.led.l Laurie Lynd, sc. Marlaine and her black leotard. A man, walk· and filmed as they slowly emerge, Glicksman, Laurie Lynd, cam. ing along a wet, snowy street, stops held by the people already photo Jonathon Rho, mus. Micah Barnes. to pick up a brow n paper bag. He en graphed. The w ater is splashed by Col., 16mml3/4 inch & 112 inch ters a house and, in the living room hands and feet; boat engines roar and video, running time: 26 mins. Spec where two women sit, opens it to re fade; the Jack stories are repeated - ial Award, American Academy oj veal a spotted fish entombed in a and the circle closes once again. Motion Picture Arts and Sciences small block of ice. "What have you A poetic , vocation of summer and 19851Silver Plaque, Chicago Film & got?" ask the women. "What are you the cottage, sharpened by the jux Video Festival 1985. going to do with it?" taposition of seemingly unrelated They sit in silence. The fish now items. Lots of striking imagery - and OHDADI swims in a bowl. At night, the man there's one lovely "painting" of an tosses restlessly in bed. His compan orange bucket next to a wheelbar· A hot and strong set-to about 'Star ion sees the marks on his back, and row filled with water in which a fish Wars' and pollution, between a she runs her fingers over them. Later, swims, and a green fern undulates. young lad and his father. You've read their names andmao'" the man is no longer in bed, and the d.lcam. Richard Kerr, add.cam. The technique of this Toronto be your own many times in the woman goes out into the night. In Phillip Hoffman, ed. Tom Thibeault, filmmaker involves animating fme pages of Cinema Canada, but another house she calls, "Are you Richard Kerr. Col., 16mml3/4 inch silver chains and coloured sand di you've often wondered what the there? Are you all right?" video, running time: 20 mins. rectly under the animation camera. others look like.. . Well, so have we. A fine example of an eerie, ten The background is black, and the fi That's why, Cinema Canada puts sion-laden short tale that demands gures of father and son appear in out emphasis on the faces that make viewer interpretation and attention line across the screen, rather like the up Canada's program production! to the sub-text, all in the space of 11 sb:yline of a strange City! distribution industry. But don't minutes. Obviously made on a TOGETHER AND APART However, the charming visuals are wait for the news to happen fil'st. minuscule budget, but with much overshadowed by an angry, over Help us get a step a.l;lead by sending care devoted to mood, faces and A 26-minute musical set in Kingston, wordy diatribe delivered by the along your photo to Cinema ca nada now. That way, when youre music. dJsc.led.l Ross Turnbull, Ontario, is surely a daring undertak young son - far too preachy and un in the news, we'll be re?-d;V go cam. Derek Redmond, mus. An convincing in a child's mouth. to ing! with the story and your piCture. .. drew Grenville, l.p. Jennifer Hazel, After a number of years, a pub An animated film by Joanthan while it is still news. Andre Czernohorsky. Col., 16mm, lished poet returns to his university Amitay, voice: Iris Paabo, Col., running time: 11 mins. to give a reading. He meets his ex- 16mm, running time: 3 mins.
recent page in Variety says a lot around the globe, the U.S. entertain about the weird world of televis SCAN LINES ment industry undercuts the impulse Aion economics. Every spring, to build a country's own indigenous Variety looks back on the previous by Joyce Nelson programming. year in terms of U.S. sales of Amer One result of this situation in ican TV shows around the world, and Canada is that, as of 1984, of 17,500 it ranks the importing countries ac hours of dramatic TV programming cording to the average price-range aired across English-Canadian net they pay for each half-hour of Amer works and stations, only 1 112 per ican programming. These prices vary u.s. TV dumping cent of it was Canadian-made. And dramatically from country to coun we paid at least $150 million for this try, depending on the stance each American TV deluge (a fact worth country has taken towards foreign the price they will pay. In the early ding each other for the rights to bearing in mind as we go into talks imports. For example, in 1985, 1970s, Canada was paying about American shows. What had been a on free trade). The U.S. entertain Kenya paid about $60 for each half $2,000 for each half-hour: one-tenth buyers' market quickly became a sel ment industry will want no tamper hour, and Japan between 56,000 and of what we pay now. That's because lers' market. Between 1975 and ing with that situation. $7,000. But Canada paid between the market then was a buyers' mar 1985, the average price paid by But the recent action taken by the $15,000 and $20,000 on the average ket. There were only two English Canada for each half-hour of U.S. Mulr'oney government has given me for each half-hour of American prog Canadian TV networks competing programming quintupled. a new perspective on all this. In the ramming. Once again, as it has for for the rights to American shows. midst of the current economic salvos the past dozen years, Canada led the CBC and CTV could pretty well set Yet even at these high prices, it is being fired across the border, Mul· world in prices paid for American their own price. still cheaper to buy American shows roney has decided to really hit the shows: shelling out over $150 mil But, in the mid-1970s, the Cana than to produce indigenous prog American economy where it lives, by lion a year for this dubious honour. dian TV scene changed completely rams of an equivalent production imposing a stiff tariff on American The U.S. entertainment industry as a result of CRTC licensing deci quality. Why spend $100,000 to novels. All along I had assumed that has a very aggressive lobbying agent sions. The Global Network and make an episode of Seeing Things millions of Canadians were actually to act on its behalf around the world: CITY-TV came on the scene; inde when for a mere $20,000 or so, you watching Miami Vice and Dallas. the Motion Picture Association of pendent CHCH-TV in Hamilton can pick up an episode of Lifestyles Instead, as this Mulroney action indi America, which establishes pricing adopted an aggressive importing Of The Rich and Famous and slot cates, they are secretly curled up from country to country. Neverthe stance; and suddenly there were five it into your schedule? And that's how with Walt Whitman or Sinclair Lewis. less, certain countries have better or six English Canadian networks American dumping of TV shows This new tariff on books muSt be leverage than others in determining and stations competing and outbid· works. By peddling its 1V product causing real dread on the Potomac.
32/Cinema Canada - July I August 1986