A movie log formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Wednesday, December 30, 2015

Mon Oncle Antoine (Claude Jutra, 1971)

The title of Claude Jutra's richly textured film seems to promise a coming-of-age story, which is what, eventually, it delivers. But first the film acquaints us with a Quebec asbestos mining town in the 1940s. The first event we witness is a fight between a miner, Jos Poulin (Lionel Villeneuve), and his boss (Georges Alexander), which is hardly a fight at all because the boss speaks English and Jos doesn't, which easily allows him to ignore what the boss is saying and do what he wants to do: quit the mine and go look for work elsewhere. Our first look at Antoine (Jean Duceppe) is when he's doing his work as the town's undertaker: a comically macabre scene in which the corpse is denuded of the "suit" he was wearing for the viewing, which turns out to be a false front quickly plucked off the naked body and saved for another corpse, and the rosary is untwined from his stiffening fingers. Antoine is the owner, with his wife, Cecile (Olivette Thibault), of the town's general store, which employs his teenage nephew, Benoit (Jacques Gagnon); a teen girl, Carmen (Lyne Champagne), who lives at the store because her skinflint father (Benoit Marcoux), who pockets her earnings, doesn't want to pay for her upkeep; and Fernand (Jutra), who clerks at the store. It's Christmas time, though there's not much sentiment in the film's treatment of the holiday. One of the best scenes in the movie comes when the mine boss rides through the town in a little two-wheeled cart, tossing cheap gifts to the children as the grownups frown at his stinginess and comment that he hasn't given out any raises or bonuses. Benoit and a friend throw snowballs at the horse, causing the boss to beat a hasty retreat. One of the most celebrated of Canadian films, Mon Oncle Antoine benefits from Jutra's adaptation with Clément Perron of Perron's story, and from Michel Brault's cinematography, but most of all from the great credibility of its cast.

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