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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

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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 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.
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