Cinema Canada (Jul-Aug 1975)

The showcase for new films from the workshop premiered May 2Ist. This was the first group of films produced by new resident Guy Bergeron. The films were divided into two categories of drama and documentary. Each category showed that as an entity, the workshop is achieving more each year. However, since a number of film makers at the work-shop are moving on, this year will probably remain a high point, at least until a new group of film makers have a chance to develop. The films in the program were as follows, with some comments on each: Country Dance is a 30 second computer animation film by Doug Starrat, a very short exercise using a distorted moving map of Canada. Once Upon A Climb is a first film by Keith Nannery. It is a somewhat satirical look at the technology of climbing, and also offers some interesting information for the layman on pitons, hooks, and clamps. It is well edited with some camp narration, and it works. Cowboy is a short black and white first film by Patrick Chotikian on a Gastown rubby. Even at the length of four minutes the film manages to be repetitive, with nothing exciting or illuminating about the character. The film is more of an exercise than a film. Via Dolorosa is one of three films on the Maya and Mazatec Indians made by George Payastre and Claudine Viallon. The film is on the re-enactment of the road of Christ, by the people of Antigua, Guatemala during Easter. There seems to be an interest in the ritual and religious activities of primitive Indians, however the film is basically coverage of a parade, with little development of the subject other than the simple walking along of the people and it seems that five minutes of material is stretched out to ten. Sammy, Sammy a film by Michael Chechik was by far the best film in the program. It is a documentary on an eccentric on Hornby Island who runs an amusement show consisting of funky ghost puppets and bits of nonsense. The activity is so bizarre and unorthodox that one is immediately intrigued. Chechik also gives us glimpses into other parts of Sammy’s life; like a visit to Vancouver to find a whore, skinning deer, operating a one man saw mill, and moments of revelry about his fifteen children. His subject is well chosen. If the National Film Board were to find some grizzled old timer to represent some aspect of our regional identity he would end up lovable, admirable and full of earthy wisdom, thereby fulfilling another piece of mythology. Sammy is fortunately none of those things, he is instead very real, interesting and human, and more like the grizzled old timer who is actually out there. The 42 Cinema Canada i A Sammy other important aspect of Sammy Sammy is its superior technical competence and craftsmanship. The photography and sound are excellent, and the editing, done by Chechik, reveals a disciplined, thoughtful approach to the film. If it had been produced by the N.F.B. or the C.B.C. with a great deal of money it would still be a film to compliment, the fact that it was made by the workshop with very little makes it a remarkable accomplishment. There is absolutely nothing in the film that suggests poverty or nonprofes sionalism. It is a completely well made and interesting film. No Entry is a dramatic film by Lawrence Day and Mel Kennedy. The film has some similarities with Ivory Founts, since it is a ‘film within a film’’ film. A young man goes to the movies. He sees a film of himself, and on screen he is making love to a beautiful girl in a diaphanous white gown, who also happens to be the usher in the theatre he is attending. The film is confusing and meandering, but straight narrative would seem inappropriate for it, since it’s basically a send-up satire with some fine and funny mo