Canadian
films seem to get no respect. All the government bureaucrats
and starving filmmakers complain that Canadian films can never
find an audience, because of indifferent theatre owners and
lack of funds, etc, etc. This is true; there are not too many
theatres that play Canadian pictures, and the only reason
The Sweet Hereafter, from Atom Eygon, got played at all (and
actually turned a profit) was because of those two Academy
Award nominations.
But
then I'm reminded of all the very bigoted opinions of people
who say that Canadian films generally rot. My cynical, bitter
friend, who suspiciously resembles the lead in MTV's animated
series Daria, considers Canadian film to be situated perhaps
a bit down the road from Sodom and Gomorrah, what with all
those David Cronenburg films, the necrophilia of Kissed, and
the infamous Bubbles Galore. I always had to point out that
this was a very unfair statement. There's nudity and other
strange things in Hollywood films, and she never seems to
complain. Remember, this girl watched Showgirls ---- and liked
it.
But......
how many Canadian pictures do you know that are any good?
Bubbles Galore was one of the worst movies of all time. Better
than Chocolate was pretty weak, and one-sided. Actually, I
think the only Canadian pictures I really enjoyed were either
those Eygon pictures, or a few movies from Quebec, (like Sonatine,
or Anna Trister) and even those are really not for the masses.
Other than that, Canadian really does mean crap. Or something
close to it.
New
Waterford Girl is a fairly lame attempt to tell us the story
of a non-conformist teenage girl in New Waterford, Cape Breton.
It is supposed to be the truthful examination of a girl yearning
to break free from the humdrum existence of rural life. In
reality, however, it is a ridiculous, if not blatantly patronizing,
comedy in which reality, logic and believability are unwelcome
guests.
The
story is about a girl, nicknamed Moodie, who is clearly the
non-conformist in her school, and as with many similar people
who live in the middle of nowhere, she wants to get out, fast.
Her teacher (Andrew MacCarthy - yes, that Andrew MacCarthy)
helps her out by getting her a scholarship to a prestigious
arts school in New York. Her parents (Mary Walsh and Nicholas
Campbell), however, blindly object and, after witnessing much
pouting, even go so far as to take her to the doctor (Kids
in the Hall's Mark MacKinney) to see what is the matter in
this poor girl's brain. Along the way, Moodie creates a "devious
plan"; apparently, pregnant teenage girls are secretly shipped
off to Antigonish for a time, and so she decides to create
the impression that she, too, is one of those bad girls, and
create a charade of pregnancy, which means that her parents
will have no choice but to take her out of this godforsaken
town.
Along
the way, new neighbours arrive from (surprise, surprise!)
New York City. A woman (Cathy Moriarty - yes, that Cathy Moriarty)
and her daughter decide to move to Cape Breton for a time,
apparently because of some trouble involving the woman's boxer
husband back home. The daughter becomes friends with Moodie,
and embarks on her own mischief: after knocking a guy out
at a party, the local girls decide that she will be useful
in dealing with the other boyfriend/creeps in the town, and
soon, she is punching everybody out. I have to mention the
New York teen because the actress who plays her gives the
only performance that doesn't feel like an utter waste.
Apparently,
this movie takes place in the 1970's. I say apparently because
there isn't much to tell us otherwise except perhaps what
may be contained in the ad copy (I, myself, was able to affirm
the time period upon reading an article about the film's author).
Sure, we see kids dancing to April Wine and other Canadian
classics, but that felt more like a filling of homegrown music
quotas than an accurate representation of the era's music.
Surely, the average kid, 70's or otherwise, would be dancing
to bands besides the tried-and-true Canadian bands. Another
problem is that some of the characters, even the teenagers,
behave as if they are trapped in some sort of 1950's limbo,
where everybody (yes, even the drunken teenagers) pays lip
service to Catholicism while indulging in all sorts of venal
and mortal sins, and where the parents act as if it is a mortal
sin to even suggest doing extraordinary things. In response
to these supposed truths, would it not be more likely that
the teenagers would be rather indifferent to religion (how
many middle-of-the-road teenagers would really give a damn?),
and would it have been really difficult to portray the parents
as supportive of the fact that their daughter got a scholarship
to an American arts school, instead of sending her off to
the doctor to get some anti-stress pills?
Speaking
of our new waterford girl, she herself is not exactly a good
role model. She is a drama-queen mixed with a pinch of utter
crackpot. All she is capable of doing is whine, pout, act
out, etc, which could be funny if the movie had a point to
make about her. She is completely self-involved and unable
to say anything particularly insightful. The screenwriter
obviously never attempted to understand what a real non-conformist
might be, unless that was to be a twitchy, panicky neurotic
with self-destructive tenancies. Who does the screenwriter
think she is, Woody Allen? I'm not necessarily saying that
Moodie has to be noble or perfect; why not make her into something
like the "star" of MTV's animated Daria, or something like
that? Hey, I watch Daria a lot, and I don't always think she
is noble, either. But at least she's funnier, and could beat
our supposedly smart Cape Bretoner in an IQ test any day of
the week.
Actually,
I think Daria would win hands-down in a scruples contest as
well. The script is not even aware of its own implications.
The whole premise is situated on the fact this girl is not
like the other teenagers in her town. Unlike them, she has
a chance at a scholarship, a way out of this dead-end town.
So what does she do? She makes a complete ass of herself.
Sure, she doesn't really lose her virginity; sure, she doesn't
really sleep with all of these guys; but she does go out with
her tough-gal/bodyguard and booze it up at parties, and generally
makes sure that every single person in this town thinks she
is a floozy, a "slut", or any other derogatory term used to
describe a fun-loving woman. The movie does not see the irony
of this situation; the fact that she is degrading herself
(and I do not hesitate to say that) in order to improve her
station. But this is not a social commentary; we're actually
supposed to believe her actions are actually something a crafty
person would do to improve herself. The madness!
And,
yes, the movie does get worse. The ending twists itself trying
to maintain this stupid charade, when all that would have
to be done is for Moodie to tell the goddamned truth. The
last shots are an insult; I can hear the screenwriter saying,
"My my, what a bunch of ignorant, uneducated drunks these
stupid Maritimers are; they'll never understand anything other
than fucking and boozing, so why bother playing fair with
them? I'm going to Hollywood! Sure, they also fuck and booze,
but at least they have all their teeth, and they can enunciate
properly!" Obviously, that is why this person wrote the script;
there is no other reason other than that she is a shallow
narcissist, who cannot see beyond her own prejudges toward
the locals. I have the feeling that this movie is autobiographical.
Why else does it pass judgement to everybody except the main
character?
David
Macdonald
David
Macdonald's Movie Reviews
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