REVIEWS of immigration officer Noel Manufort (Dermot Hennelly) for whom the war is Jack Darcus' a Heaven-sent opportunity to put the principles ofliberalism into practice : to bend the immigration rules, and to offer Desertere shelter to deserving war-resisters. One such young hero is Peter (Jon Bryden), who somewhat hesitanth' accepts Manuforf s invitation home. But Manufort's home is also that of his War, to judge by its monuments and wife, Val (Barbara March), who if she celebrations, is something to be remem­ does not share her husband's zeal for bered. Not so the Vietnam war. Forgotten the cause, does on the other hand desire too is that the war in Vietnam was in an the friendship' of the young men her important sense also Canada's war, that husband brings home, as she intimates some Canadians fought in it, that Cana­ to Peter when Manufort is called away da's high-tech industries profitted on an emergency. immensely from it. Now Vancouver film­ When Noel returns he has brought maker Jack Darcus has made a film that back with him yet another 'deserter', attempts to remember. still in his sergeant's uniform : it is Ulys­ Deserters, Darcus' fourth feature film ses Hawley searching for his runaway (after Great Coups of History, 1970; men. And so the scene is set for the Proxyhawks, 1972; The Wolfpen Prin­ ensuing confrontation between the Sol­ ciple, 1974) was one of the gems among dier, the Youth, the Liberal, and the an otherwise meagre offering of Cana­ Woman. dian films at Montreal's 7th World Film What transpires between the walls of Festival. With all the clarity of a suddenly the Manufort home is a domestic version recollected nightmare. Deserters pro­ of guerrilla war in the sense that, as in pels one back, for a relentless 110 minu­ Vietnam, nothing is what it seems. tes, to "American 1969" with its trains Peter is a deserter only because his and railway stations full of soldiery, the college grades were bad and he got his travelling salesmen of a nation at war. girl-friend pregnant. Noel's liberalism is Alongside such a train, tw^o young only this year's fashion in a desperate grunts, duffel bags packed and Vietnam- search for personal meaning : the year bound after boot camp, are fleeing from before it was Zen and pottery. Val's a shadow. Aboard the train the shadow marital discontent is only sexual. Only materializes into their drill instructor, Hawle/s sham desertion turns out to be Sgt. Ulysses Hawley, United States Army, genuine after all. marvelously portrayed by Alan Scarfe. In a Nietzschean transvaluation of Gum-chewing, boorish, with a slight values, Peter decides to go home and southern accent, Hawley, a three-tour fight for his country; Noel's and Val's Vietnam veteran, is headed for a five- marriage irreparably collapses; and Although Burton is known to think little Cinema Canada, No. 60), was almost day drunk between shifts of new draf­ Hawley bitterly accepts the defeat of his of his film roles in general, he gives this totally removed in favor of a standardized tees. During the train-ride he terrifies militaristic ideals. But if the others can his best effort, hampered admittedly by romantic background music. Thus, per­ the two grunts with macabre Vietnam and will survive at the price of some the myriad defects in the film's execution. haps the most exciting and interesting jokes, and sasses a staff captain who self-understanding, Peter, one realizes The same cannot be said of the minor aspect of the film vanished, and in the can't help overhear Hawle^s criticism at the film's end, will die, sacrificed to characters - Michael Wincott as the last analysis it could be seen that Circle of the conduct of the war. the remains of moribund national ideals. boorish boyfriend, Robin Gammell and of Two failed for reasons that were Disembarking at an unspecified sta­ But Deserters is also about our war Patricia Hamilton as Sarah's dense obvious from the outset. It was dull, tion, Hawley attempts to coerce the two within, the conflict between Canadian parents, Nuala Fitzgerald as Ashley's old dull, dull. to go drinking with him. They reply they and American identities. If the Ameri­ name - with the exception of Kate Reid first have to say goodbye to their waiting cans do have national ideals to fall back as Sarah's doctor, whose brief appear­ J. Paul Costabile • parents outsitie. The captain suddenly upon (Peter) or to rebel against (Hawley), ance cuts through the intellectual mire appears, telling Hawley his two men Canada - which at one point Hawley of the script with typical briskness. CIRCLE OF TWO d. Jules Dassin a.d. have just gotten into a car, and headed calls "This tin-pot country that can't Timothy Rowse. Frank Simpson, Sarah Miller Hay- straight for Canada which is just up the Perhaps, however, the greatest folly ward, Jerome McCann CFDC trainee Rex Brom- even get in on the action" - has only a in Circle of Two lies in the pretentious­ field sc. Thomas Hedley. from the novel "A Lesson road. "But they're my best men," Hawley weak liberalisnr as the semblance of a ness of Jules Dassin's direction. This of Love" by Marie-Terese Baird d.o.p. Laszlo George says, flabbergast. "If those are your best national ideal, one that threatens to script needed a light touch if it was to C.S.C. cam. op. Harold Ortenburger 2nd unit men, this countiys in trouble," the cap­ collapse under the slightest pressure, photo^ Jean Badel edit David Nicholson creative work at all. Instead, Dassin, perhaps cons. Fima Noveck sd. rec. Owen Langevin, Jim tain answers. exposing the cavernous nihiUsm beyond. embittered by years of exile from North Franck sd. asst Randy Milligan sd. ed. Wayne Just up the road, Canada is the office And yet even this feeble facade offers America, the failure of his later projects, Griffon, Dennis Drummond p. man. Danny Rossner most notably A Dream Of Passion, to unit man. D. Robert McCart loc man. Gail Singer, Fran Soloman p. des. Claude Bonniere, Francois De gain any positive recognition, and a Lucy p. des. Anne Pepper, Barbara Tranter asst sense of having been passed by, attempts , art d. Joyce Liggett, Don McQueen paintings, to moralize. Thus Ashley speaks gravely art adviser Harold Barling Town asst art advisor of the artistic vision, and is seen to be Brian Nowell easels VV.H. Town scenic artist James Williams sitetcli artist Phillip Moody betrayed by a gallery owner he once graplilcs David Johnston, Bruno Cywinski cost considered a friend. But Dassin omits to des. Theoni V. Aldredge, Donna Thomas ward. show any real indication of Ashley's Brian Sands, Muriel Sampson. Sarah Miller Hayward talent, in spite of contributions of the ward, co-ord. Gayle McLeod malceup Barbara Palmer, Ron Berkeley (for Richard Burton) music distinguished Canadian artist Harold Paul Hofferi, Antonio Vivaldi, J.S. Bach stunt co­ Town, whose work is used for the paint­ ord. Dwayne McLean stand-ins Rosl\'n Foreyth, ings. George Cunningham p. asst Robert Imeson, Andrew Adach, Ray Harris pub. Stephenson, Ramsay, A mention of Fima Noveck's contri­ CDonnell p.c. Circle of Two Productions (Film bution to Circle of Two is in order. In Consortium of Canada, in association with Jerume Simon and Milton Zysman Productions! p. Henk 1981, he was brought in, following the Van Der Kolk exec. p. William Marshall assoc. p. Rim's negative response in Europe, to Bob Rodgers colour35mm re-edit the picture. His main intent, he runningtimelOSmin, Lp. Tatum O'Neal, later said, was to rid the film of its Richard Burton. Nuala Fitzgerald, Robin Gammell, staginess. Thus much extraneous Patricia Hamilton, Kale Reid, Donann Cavin, Norma material about Sarah and her school life Dell'Agnese, Michael Wincolt, George Bourne Sr., Leo Leyden. Elan Ross Gibson. Gordon Jocelyn, Bob appears to have been excised, though at Aarons, Pat Patterson, Brendan McKane. A. Frank the cost of making the already thin Ruffo. Morison Bock, Bibi Caspary. Les Carlson, character thinner still. In one area Linda Anionnacci, Eileen Kim, Judy Noble. Annette Noveck did considerable damage. Paul Stevens, Wendy Tumman, Yanka Van Der Kolk, Elias Zarou. Larn- Ewashen, Lee Majors, Ryan O'Neal Hofferf s original score, which included (in original version only!, Maggie Morris. Doug performances by the Paul Brodie Quartet, Smith. Pamela Hyatt. Jimmy Leone, Grace Stephens, Moe Koffman, Erica Goodman and the Daisy White. Ann Butler, Bill Yack, The Bishop • Guerrilla warlare in a Canadian living-room: Alan Scarte, left and Jofin Bryden in Dasertara Bishop Strachan School Choir (see Strachan School Choir,

October 1983 - Cinema Canada/29 SHORTS enough of a refuge for Peter and Hawley British Army. They have constituted a to seek shelter, as a respite from the major fighting force since 1815, right up catastrophes of their national history. to the recapture of the Falklands. Often In the age of disintegrating principles, excluded fi-om standard Western text­ Canada, perhaps, still holds the possi­ book accounts of both World Wars, the bility of an interior - Deserters shows contribution of the Gurkhas has been Canada only as interiors (Manuforfs formidable. Yet, we are living at a time office and home). If this possibility of an when military prowess seems more a interior, by its vastness, is crushing to sad irony than a noble endeavor. This is the native-born, it offers to the voluntary the challenge with which Sarin's docu­ exiles, to those who have abandoned mentary grapples - to both honour the the official ideals, a vantage-point from excluded from history and reveal the which some self-understanding can ironies of their situation. A less delicate begin. and subtle filmmaker could not have As a contribution to the distinct Cana­ accomplished this so brilliantly. dian possibility. Deserters offers a The film is told through the point of glimpse of such a vantage-point. In the view of one Gurkha. Through his story, continental amnesty of these times, that the larger historical and generational is no small achievement. pattern is revealed. Service in the British Army is a way for the "hillmen of Nepal" Michael Dorland • to achieve honour and also earn a meager pension. It is expected that a son of a volunteer will also serve, thereby carry­ DESERTERS il./»G./p. Jack Darcus d.o.p. Tony Westman art d. J. Darcus music Michael ing on a tradition which has lasted over • Graduation day for the women of Eastview Adult Upgrading Conway Baker ed. J. Darcus fine cut/ftd. ed. Doris 150 years. Dyck assL d. Bob Akester assoc/p. man. Tom Gurkhas Of Nepal is filled with subtle gave to each other leaps out of the Braidwood cont. Gayle Scott gaffer Roger Huyghe screen. There were tantrums, recrimina­ key grip Fred Ransom lighting asst. Paul PoUio contrasts which, in a very understated Kit Hood's set and props Sandy Arthur ward. Andrew Brown manner, gently expose the ironies of the tions, depressions, but no-one was makeup A hair Linda A. Brown stills Nancy culture. The drab grays of London where allowed by the others to give up. Waters second stillsman Patrick Hattenberger we see the solemn and formal changing Don't Call In the end, we watch these women on lead carpenter Thorn Wells constz*uctlon assis­ graduation day when, suitably robed, tant Hugh Poole focus puller/loader Thomas of the Gurkfia guard contrasts with the Fillingham sd. rec Lany Sutton boom op. Graham peaceful, languid scenes in their Hima­ they receive their hard-won grade eight Crowell sd. mixer Barry P. Jones asst. ed. Cliff layan village. The warlike demeanor ol Me Stupid diplomas before an enthusiastic assem­ Garbutt p. asst Paddi McGrath lighting Canadian the Gurkhas in service contrasts with bly. Pro*Lite Ltd. electrical AC DC Lighting Design ne^ cut Original Conforming Services Inc. optl- the gentle way of life in the village and You've got your pride Researcher/writer John Helliker sat cals and titles Westcoast Film Opticals lab Alpha the Hindu philosophy of acceptance, A strength deep inside in with the class for six months, tryingto Cine Service made with assistance from : The revealed in the voice-over narration. You've made up your mind intrude as little as possible. His atten­ Canada Council, Canadian Film Development Cor­ Throughout, Sarin weaves these con­ tion to detail, and ability to dehneatethe poration iCFDC) tn agreement with I.A.T.S.E. To make it a better day Local 891, Vancouver, B.C. color 16mm, 35mm trasts like threads in an intricate tapestry. In your life individual characters of the women, p.c./dlat. Exile Prods., 1S48 West 5th Avenue, Van­ Perhaps the most emotionally moving shows the value of the time spent. couver V6J 1P3 1604) 731-2503 running time 110 Linda Schuyler and Kit Hood are mins. Lp. Alan Scarfe,Dermot Hennely, Jon Biyden, moments in the film occur near its end, (Chorus of You've Got Your Pride, Barbara March, Ty Haller, Robin Mossley, Bob Met­ where the old Gurkhas of the village composed and performed by neighbourhood filminakers, working calfe. gather to reminisce about their wars Alannah Myles & Christopher Ward) from a store-front office and making i and display their medals for the camera. films about the people and life around Something in the combination of faces it. Don't Call Me Stupid calls attention at and gestures, lighting and camera-work One of the lesser, but nonetheless chill­ the local level to the dimensions of and composition all come together here ing, statistics is that 20-25% of adults in international illiteracy in a positive and Vic Sarin's to reveal a profound understanding of North America and other industrialized gripping manner. the human condition. There is a poi­ countries of the world are considered to Gurkhas of Nepal gnancy here that truly speaks across be functionally illiterate. Pat Thompson • cultures and generations in the language Don't Call Me Stupid looks at how a of the heart. group of women tackled their own Gurkhas Of Nepal is a recent winner problems of illiteracy and took steps to DON'T CALL ME STUPID d. lutHood in the 1983 New York Film Festival. It deal with a lack of education. res./sc. John Hellilcer cam. Phil Eamshaw edi. deserves wide-spread viewing and ac­ When Alison's children were small, Tiina Soomet/Kit Hood BssLcaDi.Chris Wilson sd. she had no problems wdth her disability. Andy McBrearty orlg. mus. (composed^peifonned/ claim. produced) Alannah Myles&.Ctirt8topher Ward p.c This independent documentary by the Then they went to school and brought Playing With Time inc. in assoc. with TVOntario well-known cinematographer, Vic Sarin, Joyce Nelson • home written work, and needed a note dist (16mnV vddeocassette/print sale) Magic Lament for the teacher, and asked for a bedtime Films, 872 Winston Churchill Blvd., OaMlle, Ont. is simply a pleasure to watch. There are L6J 4Z2. many moments where the film is stun­ story to be read to them. And came the ningly beautiful, and its complexity GURKHAS OF NEPAL p./d. vie Sarin unintenfionally hurtful remarks. "My makes it a work that stays in the mind cinematographer Vic Sarin sc. Robert Fripp ed. kids kept calling me stupid - 'you're for a long time. Tony Geil sd. Ian Challis narr. Siriman Ragu, David stupid' they'd say. Then I thought to Rudy Buttignol's Caldrisi cons. Maj. Michael Burke colour ISmm myself, geeze I am stupid. I really am The Gurkhas from the region of Nepal running time 25 minutes, 1983 dist. Mobius I'ro- stupid..." are hillmen who, for generations, have ducdons Ltd., 175 ICing St. E., Toronto, Ont 14161862- fought valiantly as volunteers in the 0255. Women talk of recurring illness during Inward Passage childhood, of having only 10% vision, of moving around the country with a father in the Forces, as contributing factors to Inward Passage was made for the Dis­ illiteracy. covery Theatre at Ontario Place, Toronto, The women in this film started by and played every half-hour throughout approaching the principal of their chil­ this summer. The three screens side-by- dren's school. She urged them to find side as if to form one, were filled (most of more women who wanted to improve the time) with images from three SSmin their educafion and, within three projectors, and Dolby sound. months, Eastview Adult Upgrading was The centre screen opens the film with organized and had received funding. a grabber - a helicopter circling over a The local school system and com­ Coast Guard ice-breaker chomping in munity centre staff provid@a support, a way through the icy mouth of the St place to hold classes, plus help with Lawrence. child care which some needed while And ifs off and away on a CooksTiiur studying. of the 'inward passage' throu^ tbe The struggle for education is moving Great Lakes. The visuals unfold, on one, to watch. The group received lots of two and three screens. Montreal zip encouragement fixjm a wide network of magnificently into three screens; QueW people - family, friends, and various Elizabeth and U.S. President Eisenhower officials. But, most of all, the women are interpolated in archive footage upheld each other in this traumatic showing the opening of the St Lawrence "back to school" leaming process. The Seaway. , care and feeling, love and strength, they Molten, red hot steel spills from ri^

30/Cinema Canada - October 1983