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Maggie & Pierre • VIDEO on-line cut took 20 hours. be done in TV, and what can be done by able at the end of the first year. • "People who don't know the show think The music came together smoothly. film personnel in TV." When he was in No TV sale has been made to the it's tied to current events and assume it's John Mills-Cockell, at the time doing a Hollywood in 1982, says Pickford, "Film United States or Europe, though a Bri­ no longer relevant today. I feel the show show at Toronto Free Theatre, wrote people were just starting to realize tish distributor, London Films, is hand­ can surface in five years and be able to the original score in two days. lilt was they'd better learn video ifthey wanted ling European sales and Butler travelled stand on its own." And please, says the like a Christmas gift," said Griffiths. Two to continue editing. In the late seven­ to MIP-TV in Cannes this spring to actress, don't call it satire. "I hate that Rolling Stones songs were used in the ties, video was considered a toy. Only _promote the show. Though he says it's word and its connotation that the play is show, "Paint It Black" and "Wild Hor­ recently has there been recognition "reasonably possible to get all its costs spiteful" Director Lavut agrees: the ses", but those aren't the Stones on the (from film people) of its real potential back in Canada," Butler is hopeful show, subtitled "A fantasy of love, poli­ soundtrack. Producer Butler put togeth­ for artistic expression." Massie & Pierre can also be successful tics, and the media," is not re~tlly satire, er a sound-alike band and recorded the: First Choice has licenced the show in foreign markets. lilt's as handsome as preferring instead the term romance. tunes at Comfort Sound in Toronto - essentially for five years. The pay net­ anything produced by BBC or the U.S. II Some of it is funny, but it's not an anti­ and he says he hasn't met anyone yet work has it exclusively the first two networks. I've seen nothing that makes Trudeau diatribe. It's a feminist look at who can tell the difference. years, except for eight playdates on it look pale. The only thing standing in Canadian history." Whatever you choose Pickford, a Canadian who spent eight TVOntario in year two. It's available to its wayan the international market is its to call it, if time proves that the only years working in Los Angeles for the U.S. broadcast TV the third year, and Global subject matter. Some people might feel good thing produced by Canadian pay­ television industry, says Maggie & Pierre has bought one playdate for Ontario. it's too Canadian for a foreign audience." TV's first year is Maggie & Pierre, it's a changed his outlook on Canadian pro­ First Choice re-acquires it in years four If anything disappoints Griffiths, it's legacy the whole country can be proud duction. lilt really illustrates what can and five. Video cassette right are avail- public misconceptions of her play. ~ . average Canadian feature_ He has relied leaves her more worried ofwhat others final scenes, . it$ , ~eITe b~tes his $0 Martin Lavut's only minimally on realism. The char­ think than how she feels about herself. Henry and Maggie delivers a .... acters evoke the real Maggie &., Pierre, Pierre does nOt share herinsecurities. indictment on hypocrisy from theStudlo Maggie & Pierre but verisimilitude is not the intent: As an angry young manin Paris, he rises 54 dance Opor, Griffith$mllk.e;sttl~ when Griffiths delivers Pierre's conven­ ;it six each morning to splash his body viewer confrol1therch~l'~cters'hum~!1- tion speech, the campaign posters are of cold water. "Why? To be strong. What ity, forcing (he. aud~ence to suspend her,n-olthe real Pierre Trudeau, Careful for? To fight Who? Mys¢lf, and wh(}­ moral judSJfient. ··· She· turns the. tab1e.l:!? a,ttention to detail has been taken in the eVer else dares me." His determination and suddenly it's clear~a~Pjerre and It often seems Canadian television art direction · and set design, as with and individuality bring him to power, Maggie have. been standmg4ti forav~t ~amas have .exjsted exclllsively in the Maggie's little-gir~-perfect phlk bed­ but the play asks., What kind of person ~egntent of(::anadian. s~jety,~~u . realistic mode, the country's most in­ room or the interiors of 24 Sussex Drive, wants to be Prime Minister? One who complacent, bored, who Hveiua-- _, fluential genre being dOtudraIIMl,rhose with the furnitUre slightly larger than envisions a JusfSociety which wiU /~cast oftwice-a.yeartropit?aJ y~~atiQ:nsaflttt.l( i~~ll&<?rienteq . l1Yl>rids of .pcti011. .· and life-sizer where .. the clutter of books, down the totems, break the taboos", or r~nningofftoEt1I'{)peWitP "Five thou· fact whichfreq;u.ently achieve neither. statues, and an inordinate number of orie, intoxicated by the jf)b'suninhib-ited. $~n~ldoUarsofDaddfs moil~~!*a Perhaps that's why the pay~ TV adapta­ portraits smother thc$Cel"ie, with hilr adulation, shrugs at the (;arpera and "ruoby Mums and Dads~ntbeil'r .' tion of Linda.Griffiths and Paul Thomp­ torieal fiXity, evoking the oppressive­ says "It's hard to resist." tuxed~s and one long dresS" where the son's hir-playMaggie& Pierre feels· so n(:lssof power. Maggie and Pierre's May·December k~ss!l~ako£flo~he l]afhroom t(}slriQl}~. refreshingly dif(erel"it: though its sub­ , The stage shows appealing character marriage ideally couldacllievea syn­ a joint -ject is undisputedly factual, its approach transformations have been stunningly thesis of complementary opposites, yet "Oh, we'peso together; aren't W~; is. decidedly not realistic, Expre&sionistic, accomplished for TV, With thecaroera the play offers no grand vl$ion of love. ladies? We're s~ on top of itaf~t ... poetic, even surreal might better de­ On her bare faetas she rolls out of bed, The real terms of their marriage are Maggie to her legion of accusers, scri"bethisIB,agnificent one-person show Maggie steps into bfack oxfords,· then embodied in Pierre's moUo, "Reason voice Wicked with sarcasmlherindict~ starring Griffiths and directed by Martin into roen's trousers, and as the caroera Over Passion", and the emotional chasm ment no doubt influences Henry's deCi' Lavut. pans to her face she has become Henry, between them is manifested in Maggie's sionto abandon journalism.) As Maggie This TV production has risen$mpres­ trenchcoat on, microphone in hand, speech in the garden. "It looks like 'dances at Studio 54, oblivious to her sively to the original material: not since pursuing Pierre. In the press club scene, wings beating underneath the water:' detractors, she has finally achieved The Apprenticeship of Duddy Kravitz the charactei'sof Maggie and Pierre she says~f raindrops falling on a pond. freedom from the.guilttl;iat so tortured has the English Canadian production change back and forth in the same per­ "Pierre would say, 'No, Margaret, it's just her youth. But she has paid he~prlce~ industry so skillfully transformed such a fectly credible shot through the magic the intersection of the Wind and the rain and her journey has led onlyto tliat den hard piece of cultural currency to the of lighting and Griffiths' ,performance. causing that configuration on the .sur­ of narcissism, the disco. "Which do y/)~ screen. In both' cases, not surprisingly, For these marvellous transitions alone face. But I know it's wings:' think is my best feature: my legs ... ol'fliY the original authors contributed fo(reatiy the show is worth seeing ~ they indicate If Maggie is Passipn and Pierre Reason, bum?" asks kinky Maggie, and the au. to the success. Linda Griffiths' tremend­ a creative refusal not to fall back on the third party, Henry the journalist, is dience is allowed the illusion theyreoff ous resourcefulness as an actress shows the full conventions of realism. Judgment: A passive recorder but active the book. fully here as she accomplishes three It's ironic the production revives the moralizer, Henry fills many functions. The play ends where it began, at a roles, two of them men, one the Prime story's original events on television, the On one level, the story can be said to be pawn shop undertha bridge where Minister of Canada. If that's not enough, medium which more than any shaped played out in Henry's imagination, neatly Henry now makes his home, the TV set as co-author (with Paul Thompson) she the national consciousness of Pierre takmgthe pressure off the shows use of in the window playing the national has pared downlhe screenplay to a lean and Margaret's public images. Televi· real people and real events. With Henry, anthem {the NFB's Oh Canada film; no and efficient 75 minutes. Not padded to sion, which borrows dramatic techni­ the play can explore the parasitic/sy~­ lessl. The camera pulls back to reveal meet network time requirements, the ques for its tidy little 90-second news­ biotic relationship between politicians the crew, sets, and lights: a post· modern shortened stage sCript achieves a taut clips, is plundered by drama for source and journalists, as When Pierre soliCits admission of the artifice. On the sou{1d· TV rhythm of its own. material: the confrontation on the steps marital advice from Henry. "Don't you track, mad Henry's voice rambles : "An For director Lavut, whose film Bruce between Henry and Pierre over the have someone else you can talk to, like a amnesia is spreading over the land ..
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