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E Fruit Machine Special Issue: Gender and the Canadian Armed Forces Film Review e Fruit Machine Lynne Gouliquer is an associate professor of Soci­ Film under Review: e Fruit Machine. 2018. Direc­ ology at Laurentian University (Sudbury, ON, ted by Sarah Fodey. Produced by Han Nguyen, Derek Canada). She is a Banting and an O’Brien fellow. Her Diorio, and Sarah Fodey. SandBay Entertainment. research focuses on the sociology of institutions and Ottawa and Toronto. marginalisation, as they apply to groups such as wo­ men in the Canadian military, LGBTQ2IA+ soldiers Available at https://www.tvo.org/video/documentaries/ and their families, women firefighters, oldest­older the­fruit­machine­feature­version adults living in place, and Métis people. She is a milit­ ary survivor/veteran of the LGBT Purge campaign Abstract: e following is a review of e Fruit Ma­ and a two­spirit Métis. She is the co­founder of the chine documentary film directed by Sarah Fodey. is Psycho­Social Ethnography of the Common Place (P­ documentary sheds light on a dark period in Cana­ SEC) methodology and co­director of the P­SEC Re­ dian history. Using the testimonials of survivors and search Group (https://p­sec.org/). historical experts, e Fruit Machine film illustrates how a democratic state could legally wage a discrimin­ Carmen Poulin is the Associate Dean of Arts (Re­ atory campaign against its own citizens whose only search & Graduate Studies) and a professor in Psycho­ crime was being (or suspected to be) “homosexual.” logy and Gender & Women’s Studies at the University For fifty years, Canadian state institutions hunted of New Brunswick, Canada. Her research focuses on down and interrogated thousands of individuals sus­ the impact of social practices and ideologies on wo­ pected of homosexuality. is film is a must­see. men and marginalised groups’ daily lives. In particular, she is interested in the experiences of women and Keywords: discrimination, gender, investigations, marginalised groups (e.g., women firefighters, LGB­ LGBT Purge campaign, military, prisoners of war, e TQ+ in the military) within men­dominated organisa­ Fruit Machine tions. She is the co­developer of the Psycho­Social Ethnography of the Common Place (P­SEC) method­ ology and co­director of the P­SEC Research Group (https://p­sec.org/) e P­SEC Research Group is a multi­disciplinary group at the time comprised of Alissa Moore, Jennifer McWilliams, Lena Mohamad, Sandrine Poulin, Ur­ sula Cafaro, Brandon Portelance, Sophia Konerman, and Gabriellange Parent. Atlantis Journal Issue 41.2 / 2020 95 he Fruit Machine is a Canadian documentary powerful testimonies of sexual violence, intimidation, Tfilm written and directed by Sarah Fodey and re­ and torturous interrogations. ey skilfully illustrate leased in 2018. It presents as something between a the depth of the harm perpetrated and the young lives documentary and a spy movie, yet it is one hundred left in ruins. e fact that the documentary is domin­ percent based in reality—a Canadian reality. is film ated by the testimonies of military Purge survivors is details how Canadian soldiers, civil servants, and po­ not explained in the film, but it is not surprising. e lice officers serving in our national institutions—the CAF continued the Purge campaign until 1992, years Canadian Armed Forces (CAF), Civil Service, and after the RCMP and Civil Service had stopped their Royal Canadian Mounted Police (RCMP)—were in­ own Purge (Poulin, Gouliquer, and McCutcheon vestigated, intimidated, and interrogated like prisoners 2018; Poulin and Gouliquer 2012). While numerous of war from the 1950s to the 1990s. Using the testi­ cases were brought to the courts, the most famous and monies of numerous survivors and subject­matter ex­ determining one was that of Michelle Douglas (Park, perts (e.g., journalists and academics), the film 1994), which ended the military’s ability to officially illustrates how thousands of people lost their job, their discriminate. health, their confidence, their future, their dream, and their trust in the Canadian state. e Fruit Machine When putting together a documentary, two important tells the story of what is now known as the Canadian and related constraints are the budget and length of LGBT Purge campaign and unveils a piece of Cana­ the film, both of which necessitate strategic choices. dian history that has remained invisible and unad­ You need to tell the story, do it convincingly, and in dressed for many years. the shortest amount of time possible. e producers meet this challenge admirably, but it results in an un­ e first half of e Fruit Machine focuses primarily fortunate gender division: e subject­matter experts on the historical context of the LGBT Purge, includ­ chosen to provide the historical backdrop and analysis ing the Cold War. Intertwined with this historical sec­ are mostly men. Most of the personal stories from the tion are the stories of a number of men Civil Service Purged men are interwoven into this telling of the Purge survivors who were investigated and lost their Purge’s history. In contrast, in the second half of the jobs and the story of a retired Drag Queen performer film, women dominate the screen as they tell their in­ who worked at an infamous gay bar in Ottawa during tensely emotional and devastating stories. rough the Purge campaign. rough this particular telling of this sequence in the film, men appear mostly agentic, history, the RCMP is portrayed as the guardian of na­ less emotional, and in control while the women ap­ tional security as well as the main perpetrator of the pear more emotional, passive, and non­agentic. ese investigations and terminations. e producers anchor characteristics are often (problematically) associated the film in the late 1940s to the 1970s, a time when with masculinity and femininity, respectively (Gouli­ governments demagogued that homosexuality was one quer 2011). e experts are convincing and so are the of the western world’s greatest enemies. e belief that survivors but a byproduct is the impression of a communist enemies (i.e. the Russians) could black­ gendered and patriarchal heteronormative script. mail “homosexuals” (aka “sexual criminal deviants”) legitimised an intrusion into the private lives of Cana­ e decision to devote as much time to the historical dians. In particular, the military’s Special Investigative overview of the Cold War, the RCMP, and the devel­ Unit (SIU) and the RCMP targeted and hunted down opment of a device to purportedly detect homosexual­ members of the CAF, Civil Service, and RCMP sus­ ity, e Fruit Machine, left little space for a more pected of homosexuality. inclusive history of the fifty years during which the Purge campaign raged in Canada. Paring down the e second half of the documentary focuses predom­ historical overview, however, would have turned the inantly on the stories of women military Purge surviv­ documentary into more of a military story, given that ors. e producers excel in capturing the emotionally by the mid 1980s, the military was the only institu­ Atlantis Journal Issue 41.2 / 2020 96 tion purging “homosexuals.” Although the story of the normativity, femmenegativity, and hegemonic mas­ development of a machine to detect homosexuality is culinity involving gender and sexual minorities in riveting, it is worth noting that this machine was a these environments remain unexplored and unchal­ failure and was used for only about three years. Non­ lenged. While the documentary makes visible a tragic etheless, the “fruit machine” device story captures the part of Canadian history, one wonders if it has disrup­ imagination and symbolically signifies how the Cana­ ted the status quo or if it could have done more to ad­ dian government’s machinery was mobilised to detect vance an understanding of the insidious effects of and eliminate homosexuality from its ranks. misogyny and femmephobia. e documentary missed an opportunity to critically In summary, e Fruit Machine documentary serves examine how federal institutions used the process of an important and critical role: increasing public othering sexual minorities for strategic ends. Stoking awareness about this troubled part of Canadian his­ the fears of all government employees—soldiers, po­ tory. Its brevity precludes a larger, more encompassing lice officers, and civil servants—about the manufac­ and complex telling of a story that spanned more than tured threat posed by homosexuality served to create fifty years. e stories of the intimate partners of these an enemy within, which helped to maintain the readi­ individuals, and the stories of the soldiers, police ness of these institutions and their personnel for war. officers, and civil servants who continued to serve but As is noted in the film, no “homosexuals” were ever suffered the horrors of the Purge campaign remain un­ found to have been blackmailed by Russian commun­ told (Gouliquer and Poulin 2005; Poulin 2001). Non­ ist intelligence. Rather, the tactics used by the RCMP etheless, the documentary can be used to facilitate a and the military’s SIU to extract names and confes­ deeper understanding of, and stimulate discussions sions, including blackmailing and lying, were a means with regard to, men­dominated institutions and their to break the morale of suspected “homosexuals” and foundational and problematic pro­masculine, hetero­ practice interrogation skills on these substitute “pris­ normative, anti­feminine, and misogynist structures of oners of war” (Poulin 2001; Poulin, Gouliquer, and power. e Fruit Machine documentary could not do Moore
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