CIFF Reviews: A Legend of Whitey
by Ainsley Barteluk
A Legend of Whitey screened at the Calgary International Film Festival on Sept 26 and will encore on Saturday October 1 (4:15pm @ the Plaza Theatre)
The imperative in historical films is usually to portray the characters as dignified and always serious. This is not the case in David Lawrence and Paul J. Spence’s campy, western-style comedy: A Legend of Whitey. Best known as the creators of Fubar (2002), it’s not surprising that these filmmakers provide us with a different take on what Albertans were like in the 19th Century. From the outset, the film is preoccupied with inappropriate humor (is there any other kind?). It makes us laugh while displaying Alberta’s beautiful countryside, and at the same time issuing a facetious commentary on the province’s bigoted origins.
Ainsley and the guys from Fubar.
The setting is a remote ranch in 1885 where two half-brothers (David Lawrence and Paul J. Spence) reunite. Trouble begins as the half-native brother Luther (Spence) shows up at the outpost dressed as an “Injun”; it’s not long before they have to skip town with the local authority hot on their tails. While on the run, the brothers come across a white buffalo that Luther explains is a spirit animal named Whitey. Legend has it that Whitey is actually a beautiful woman who has been transformed into a buffalo and will only turn back once she has found her true love. Luther must convince his brother of the authenticity of the legend so he can help him on his quest to return her to her people and also find true love.
As the director explained in the Q&A following the film’s premiere at the Plaza theatre in Kensington, the original idea was to make a buddy film where the two guys would be the run together. What eventually took shape was an improvised western, and that turned into a western comedy with a wide range of interesting characters. It was a collaboration of friends, resources, and support that helped Lawrence pull off this film. Indeed, most of the cast was at the premiere along with many other loyal fans—including Mayor Naheed Nenshi—to show support for Calgary’s most famous filmmakers. Perseverance was also necessary for it to have been pulled off, as the cast and crew endured some of Alberta’s harsh weather during production and almost had their entire set destroyed in a Tornado.
It’s clear they had a good time making this film, and everyone in the theatre sounded like they enjoyed themselves with its hilarious pokes at not only Red-Neck Albertans, but also at the mentality of that era concerning things such as female modesty and “civilized behaviour”. Another interesting device was the use of the Dutch characters to create a documentary-like feel to the film as throughout the film the Dutch interview the other characters, and take pictures in their quest to document Alberta for their king in Holland. In addition to that, the cinematography was simply beautiful. However, one might find the film is lacking something, especially when it comes to the acting. In particular, the characters’ accents are a problem. Perhaps the mismatched hick accents worked better in the modern setting of Fubar than they do in a historical piece. For that reason the film may not resonate with authenticity. In all honesty, it’s a film made for cult-classic cinema followers and those who do not “get” these types of films will perhaps leave the theatre feeling less than stoked. But for fans of these types of films this is definitely a must see.
CIFF Reviews: Cloudburst
by Janine St. Jean
Cloudburst screened with the Calgary International Film Festival on Sept 24 and will encore on Fri Sept 30 (9:30pm @ the Globe)
cloud·burst
noun /ˈkloudˌbərst/
cloudbursts, plural
1. A sudden, violent rainstorm
2. A cloudburst is an extreme form of precipitation, sometimes with hail and thunder, which normally lasts no longer than a few minutes but is capable of creating flood conditions.
I feel that there are two types of films: one for entertainment, and one for art. It seems that the two types are constantly at odds with each other, that compromising one is the only way to subsist the other. Yet somehow, Cloudburst is both entertaining and art. On the surface, with it’s scenic imagery of beautiful sunsets and natural wonders, I was enchanted by the lush surroundings the cinematographer had painstakingly composed for the viewer. Then I met the characters Stella and Dot. Brash, crude, vulgar, outspoken, independent, opinionated Stella got under my skin. While Dot was gullible, meek, trusting, naive, and so very dependant due to her blindness. I didn’t think I could get though this film. Throw into the mix a lesbian love story and I suddenly thought this was going to be entertaining! Be it old lesbians (back to the art film. This is nothing like the hot lesbians in the “L” word.) that constantly bicker (the needle is now pointing at entertainment) as they struggle with life’s tribulations.
With most films, the plot is the fundamental crux that drives a piece forward. I don’t want to talk about the plot in this film. See it for yourself. The characters are what got my attention. They were so amazingly developed. The balance that Stella and Dot provide for each other is the film! (My needle is pointing to art, again.) Each character on their own was painful to watch. But together, they were hilarious! It’s like a “you had to be there” moment, which was filled with humour, wit and agony! (Entertainment!)
Shot entirely in Nova Scotia, this film was an enduring and memorable experience with a brilliant name! I was suddenly overwhelmed, and in an instant it was over.
A testament to what defines love and the obstacles that a couple will go through (just to be married like “normal”people); this was a genuine glimpse of the perseverance in the name of love.
Guilt (La Vérité) review
By Jackie Nicolls
Guilt screened Friday Sept 23 and has a encore screening on Tuesday Sept 27 (7pm @ Eau Claire)
Marc Bisaillon’s Guilt (La Vérité) is a sensitively gritty portrait of how two teenagers attempt to deal with the guilt of accidentally killing a man after an unruly night of partying. With a story that could just as easily have been told as a preachy “cautionary tale”, Bisaillon does an admirable job of giving the boys and their situation an unsettlingly relatable authenticity.
Guilt is the second in an announced tetralogy of films by Bisaillon; each examining the effects of silence on the various individuals who are affected when a crime is committed. Guilt concerns itself with the emotional toll that committing murder and keeping that burden a secret takes on a young conscience. Gabriel (Pierre-Luc Lafontaine) and Yves (Émile Mailhiot) are best friends, and are established as somewhat troublesome (in their opening scene together, they deliberately crash Yves’ car). After one night of drinking and music, they find themselves breaking into and destroying a residential home. On their way out, they are interrupted by a man who could turn them in. It is this encounter that quickly turns to tragedy. Throughout the rest of film, it is Gabriel (played with brilliant honesty and vulnerability by Lafontaine) who is suffering the most from the subsequent guilt; taking his turmoil out on his mother and his girlfriend. Yves holds his steadfast belief that they should forget about it and move on. As the story progresses, the friends drift apart and Gabriel’s grief leads him to irrational actions.
The delicate nature of the subject matter is dealt with very effectively and is told humanly, taking into account the mental states of characters on all sides of the incident. It is this humanity that gives the entire film a feeling of harsh reality that any audience member can take away with them – that this could happen to anyone – and that is what makes the story so believable. A key factor in the story’s believability is the strong performances by the cast. Pierre-Luc Lafontaine succeeds in playing Gabriel with innocence (but not naivety) and intelligence (but not ambition) that makes an audience immediately sympathize with him. Émile Mailhiot as Yves is a strong and confident counterpart to the more fragile Gabriel.
The only critique that can be made of this film is a few aspects of the cinematography. In many scenes, including one of the most pivotal scenes of the film, the action was unfortunately underexposed. It would be understandable to accept that this was an artistic choice and could just be the effects of these scenes taking place at night, but it was occasionally frustrating. As an audience member, it is very important that we can see the characters faces, especially with such talented actors. Without that direct line to the emotions of the protagonists, it is difficult to connect and relate to their experiences.
Overall, Guilt gives us a human and heartbreaking look into how people cope with a guilty conscience, how people deal with tragedy, and how people attempt to help the ones they care about. Not only does this film deserve to be seen, you deserve to see this film.
Lloyd the Conqueror Review
by Janine St. Jean
Lloyd the Conqueror screens on Saturday Sept 24 (7:15pm @ the Globe) and Saturday Oct 1 (2pm @ the Plaza) as part of the Calgary International Film Festival.
I can’t even say it. L-A-R…. It’s like the word “shampoo”. It’s hard for me to say. LARP. There. I can see it in print, typed by my own hands. I’ve even said it in my head! LARPing? I must draw the line. You can’t make it into a verb by adding “ing”. It’s an acronym that already ends in “ing”! I digress….
The plot low down: Lloyd and his pals would rather spend their nights entertaining themselves instead of focusing on their academics. As a result, they are sure to fail their community college classes, which would cause them to lose their student finances. Burdened by the reality of their situation, they make a backroom deal with Derek, the shady professor who will fail them. Derek also happens to wield the title of Unholy in the live action role playing world, to which they agree to enter. They sign up in tournament as the Forces of Light, the opponents of Derek’s Dark Dominion. The professor wants the competition to crown himself the LARP champion, but Lloyd and his friends accidentally up the ante in a winner-takes-all stake in pursuit of his dream girl and an A+. Can 3 dimwit college students set both worlds right? Will Lloyd fuck the brains out of his dream girl’s cute little head while restoring the fun to the world of LARPing? Armed with foam swords and plastic shields, the trio forge ahead, winning the confidence and companionship of those along the way. With guest appearances by Harland Williams and Tron (Andy Sparacino), I confess to LOLing on many occasions. Unlikely heroes confronted with good, bad, and really bad news that could force them to lose the tournament thus forfeiting their grades, their funding and Lloyd’s girl. Anything seems possible with the roll of a dice. What’s next? Lloyd and his friends playing an online game only to cure HIV by solving a complex protein puzzle? Don’t make me roll for initiative!
The opinionated technical low down: If you haven’t heard of the Sentry Box in Calgary, nor do you own a d20, this film will be a bit trickier for you to digest. I must admit I’ve played D&D before, but a movie about live action role playing? I shuddered. Reluctant, I popped the disk into my player. WTF! The production was glossy and slick, beautifully shot on the Red One camera. The sound was great. The music awesome. The characters believable. The setting proudly familiar! And I sat back and took it all in. As I watched the characters, Lloyd and his lazy friends, bungle their way through a deal-with-the-Devil plot, I kept asking myself: this was made in Calgary? With a talented cast and crew, great characters and a neatly written script, I was easily seduced into this quirky fantasy world. This film sets the bar high and pushes the limits of what the Calgary Independent Film industry can do. For those that get this film, it’s a point of local pride!
THE BIG BLUE (Le Grand Bleu) Director’s Cut Review By K.J. Kleefeld
On DVD: running time 168 mins; Released 1988; Directed by Luc Besson; Starring Jean-Marc Barr, Jean Reno, Rosanna Arquette; Cinematography by Carlo Varini, Music by Eric Serra; Released by Samuel Goldwyn Films.
Luc Besson filmography reads, for the most part, like a man possessed on bringing obscure characters to life in beautiful worlds while death and destruction run rampant. ‘The Fifth Element’, ‘The Professional’ and ‘La Femme Nikita’ (no, not the television show, the original French movie) all play with violence while dealing with a character who is trying to escape the dangerous world that they have been thrust into. In one of his earlier films, he used Jacques Mayol, a legendary free-diver as an inspiration for the main character while exploring his early love of the sea and dolphins in a much gentler movie, “The Big Blue”.
Diving deep into the world of free-diving, Luc Besson explores competition, love and the attractive mystery of the ocean. Free-diving is a sport where divers challenge the ocean and themselves to see who can stay down the longest and go the deepest without any use of breathing apparatus’s. Jacques (Jean-Marc Barr) or the Frenchman, as his childhood rival Enzo (Jean Reno) calls him, is put to the test when his love of the ocean and dolphins is challenged by a quirky New Yorker. Johanna (Rosanna Arquette) follows him around Europe on his quest to compete in the sport of free-diving.
After losing his father to the dangers of the sea, Jacques grows up never wanting to leave the water. Perhaps it keeps him close to his only known parent. As an adult, he goes into a trance-like state when he enters the claustrophobic frozen lake to have his heart rate measured by Dr. Lawrence. Jacques possesses a rare ability to slow his heart rate down to almost nothing. Johanna, an insurance investigator for an accident involving one of the research trucks, arrives just in time to see Jacques go into the frigid water. She is immediately drawn to him.
Once she returns to the loud buzz of New York, she decides to pull a scam on the company she works for by creating a bogus claim that would create a bogus trip. She then heads off to Italy to find Jacques. There she meets Enzo, a straight shooting, oversized bully who’s the champion of the free-diving world, and afraid of his own mother. The three of them travel around exotic locations while Jacques and Enzo continue their childhood competitions.
Once Jacques falls in love with Johanna, she brings him into the human world and his marine world begins to turn upside down (literally) as the ocean tries to get pull him back. All the while Jacques continually stays on the heels of his best, and only, friend to push the limits that one man can take from the ocean.
Cinematographer Carlo Varini’s visuals and music by Eric Serra blend beautifully as Luc Besson’s story telling works an interesting journey that today’s movies often lack. Besson’s later films deal with many fast paced sequences that match most of the blockbusters that screen at the local Cineplex, but he continues to stays close to his love of discovering characters. The pacing of this movie is considerably slower than many moviegoers today may want to tolerate, but something about this movie for me presents a journey that I wanted to go on. Maybe it’s my love of the ocean, or my fascination with dolphins, but for the last twenty years I always smile when I see it playing. If you’re looking for something a little different, as well as an amazing comedic performance by Jean Reno, I’d suggest you check it out.
