A blog 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

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Monday, July 28, 2025

Lilies (John Greyson, 1996)

Brent Carver in Lilies

Cast: Marcel Sabourin, Aubert Pallascio, Jason Cadieux, Danny Gilmore, Matthew Ferguson, Brent Carver, Alexander Chapman, Rémy Girard, Ian D. Clark, Gary Farmer, Robert Lalonde, John Dunn-Hill. Screenplay: Michel Marc Bouchard, based on his play. Cinematography: Daniel Jobin. Production design: Sandra Kybartas. Film editing: André Corriveau. Music: Mychael Danna. 

John Greyson's Lilies is compounded of many elements: religious hypocrisy, small town homophobia, gender fluidity, the wrong man murder mystery, the revenge drama, the prison thriller, the Saint Sebastian legend, the play-within-a-play trope from Hamlet, and a dash of homoerotic nudity. It's no surprise that it doesn't hold together, but that it's fascinating nonetheless. The premise is that a distinguished Roman Catholic bishop has come to a prison in a rural area of Quebec to hear the confession of a dying man, only to have the tables turned on him when the man turns out to not to be dying and to have a score to settle with the bishop. Moreover, the prisoners have conspired with the chaplain to stage a play that will catch the conscience of the bishop. We see the play both as it might have been staged in the confines of the prison and opened up into the wider gaze of cinema, with the male inmates playing female roles in both the play and film segments. Like most plays turned into movies, it retains the suggestion that it might have worked better on the stage, but the novelty of the concept and the skill of the performers remain.