Cinema Canada (Jan-Feb 1981)

the irony of superstition becoming valid (as Marguerite sinks into a satanic paganism on the Isle of Devils) and, parenthetically, the mores and social order of Old and New France. Should we still feel that we have not had enough, voice-overs frame both films with factual narrative. It is not that we don’t want to learn about any of these things. It is just that the combined presence of so many motifs robs the films of a sense of integrity and, paradoxically, makes us see them as incomplete. They are not, as advertised, shorts. Rather, they are manic features and, as such, are a bitter commentary on the priorities of our current film industry. Indeed, Rowe might not be capable of a Lawrence of Arabia or Dersu Usala — films with themes not dissimilar to those seen here. But, having seen Rowe’s work, it is impossible to believe that there are no Canadian subjects worthy of epic treatment, no indigenous approaches to that treatment, and no alternatives to horror or cops, the next time someone puts up $10 million for a “Canadian” feature. As is, River to China and Marooned work in the same way that Griffith's short films worked to transform abundant subject matter into concise presentation. Ideas are reduced to physical metaphors ; subtle changes become overly dramatic heroics. Brébeuf befriends the Hurons by rescuing an Indian maiden from the rapids. He and Brilé finally settle their differences by playing the old Indian fire The Spirit of the River to China d. Peter Rowe p./sc. Barry Pearson, Peter Rowe exec. p. Gerald M. Soloway d.o.p. Paul Van Der Linden or. mus. Bob McMullin series theme composed by Michael Spivak ed. Allan Collins cost. design./construc. Antoinette Ellard props Robert Paquette p. man./a.d. Barry Bergthorson 2rd asst. d. Holly Dale 3rd asst. d. Lazar Avramov cont. Marie-Thérése Boily loc. man. Marjorie Lamb sd. record. Brian Vary boom John Gundy sd. ed. Arnie Stewart sd. re. rec. Len Abbott stunt co-ord. Dwayne McLean make-up Pip Ayotte spec. efx. Martin Malivoire gaf. Barry Reid key grip Lee Wright cam. Michael Szucs (1st asst.), Wendy Walgate (2nd asst.) 2nd unit cine. Wolf Ruck asst. ed. Carolyn Zeifman grip David Zimmerman best boy Sandy Carroll props asst. Michael Rea ward. asst. Isabelle Depelteau p. sec. Angela Gruenthal pub. Bonnie Palef titles N.A.C. stills Jonathon Kay p.a. Rick Meldazy, Martin Myers, Karyn Schwinghamer I.p. Raymond Cloutier, Guy Thauvette, Graham Greene, Fern Henry, Robert Daviau, Erroll Kinistino narrator Donald Brittain p.c. Rosebud Films (1979), produced with the assistance of Wintario col. 16mm running time 25 min. dist. Rosebud Films. AAORT FILM REVIEWS game, joining hands over a burning ember until someone cries uncle. Like Griffith, Rowe’s treatment of time can be effective — or abusive. Marguerite, after a two-minute pregnancy, gives birth upon discovering Francois’s corpse. A little later, her descent into paganism consumes 90 seconds of screen time, during which we see much wood burning. Certain ill-conceived aspects of the films — poor lines, for example — leave little room for forgiveness. Marguerite’s protestation that Francois “is not a sewer rat — he’s a poet” might be eclipsed if there was more room for better dialogue: as is, it diminishes his characterization for the remaining 15 minutes of his life. Similarly, both films’ monotonous, overblown music would not be so unbearable if thinned out among more silent passages. If done well — as they are here, despite their flaws — films of this particular format can be engrossing. There can even be, as Griffith proves, a little room for charm. Realistically, however, subject matter that wishes to break out of unnatural time constraints will eventually call for substance in a way that cannot be denied. Griffith solved this problem by inventing the feature. Perhaps we can do the same. Seth Feldman Marooned in the Land God Gave to Cain d. Peter Rowe p./sc. Barry Pearson, Peter Rowe exec. p. Gerald M. Soloway d.o.p. Paul Van Der Linden or. mus. Bob McMullin series theme composed by Michael Spivak ed. Allan Collins art d. Carol Spier, Alfred Benson (asst.) cost. design./construc. Antoinette Ellard props Robert Paquette cine./winter scenes James B. Kelly CSC p. man./a.d. Barry Bergthorson 2nd a.d. Holly Dale cont. Marie Thérese Boily, Nancy Eagles p. co-ord. Marjorie Lamb sd. rec. Brian Avery boom John Gundy sd. ed. Arnie Stewart sd. re.rec. Len Abbott stunt co-ord. Dwayne McLean stunts Karin Pike, Ed Hannaford make-up Pip Ayotte spec. efx. Martin Malivoire lighting Barry Reid, Jock Brandis key grip Lee Wright construc. man. Bill Harman 1st asst. cam. Michael Szucs, Rick Wincenty 2nd asst. cam. Wendy Walgate 2nd unit cine. Wolf Ruck asst. ed. ' Carolyn Zeifman grips David Zimmerman, Carlo Campagna best boy Sandy Carroll props asst. Michael Rea ward. asst. Sara-Gene Foster p. sec. Angela Gruenthal pub. Bonnie Palef titles N.A.C. stills Jonathon Kay, John Williamson p.a. Rick Meldazy, Karyn Schwinghamer I.p. Céline Lomez, Jean-Jacques Blanchet, Jean-Louis Roux, John Friesen, Winston Rekert, Ara Hovanessian narrator Donald Brittain p.c. Rosebud Films (1979), produced with the assistance of the Canada Council col. 16mm running time 25 min. dist. Rosebud Films. POST PRODUCTION SERVICES EDITORS CUT LIMITED 44 WELLINGTON ST. E. SUITE 24 TORONTO,ONT. MSE 1C8 (416) 369:'42038 Arthur Winkler, CLU Consolidated Insurance Agencies Ltd. 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