As a gamer who’s spent countless hours immersed in narratives that span the spectrum of human emotion and experience, I found Paul Schrader‘s latest film, “Oh, Canada,” to be an unparalleled journey into the heart of a man grappling with his past and facing an uncertain future. Richard Gere delivers a poignant performance as Leonard Fife, a documentary filmmaker battling cancer and struggling with memories that blur the line between reality and fiction.
“It’s essential that someone takes action!” This line is among Paul Schrader’s most recognized from his film, First Reformed. Schrader’s works often feature troubled men (some quite morally questionable, like Travis Bickle) who are attempting to traverse a decaying America. These characters often believe they are a “special individual” destined to correct the injustices of society. This theme dates back to his 1976 screenplay for Martin Scorsese’s movie, Taxi Driver.
Often, these narratives involve main characters taking bold and dramatic actions to make a lasting impact on our world. They may wear explosives, kill their previous leaders, endure public crucifixion, or do other extraordinary things that ensure they are remembered in history books. For instance, the Japan-set 1985 film Mishima: A Life in Four Chapters concludes with its protagonist Yukio Mishima, after his effort to reclaim Japan is rejected, performing a famous act of seppuku.
In a striking shift from his usual filmmaking style, Schrader’s newest production, titled “Oh, Canada“, presents an intriguing deviation. As with many of his works, the central focus remains on a male character grappling with psychological turmoil. However, unlike his previous characters who aim to transform the world or meet tragic ends, the protagonist in this film is not driven by such ambitions. Instead, he is confronted with the inevitability of death and the burden of regret. Unlike the redemption experienced by the protagonist in “The Master Gardener“, this character does not find solace or transformation in similar circumstances.
The film “Oh, Canada” introduces us to Leonard Fife, a veteran documentary filmmaker portrayed by Richard Gere, who is battling cancer. There are clear similarities between Fife and the director, Schrader, in terms of their professions and age. However, it’s important to note that these parallels aren’t exact. In reality, Schrader’s wife, Mary Beth Hurt, resides in a nursing home due to Alzheimer’s. Fife represents a blend of Schrader’s creative pursuits and his partner’s fragility. This combination gives the main character of “Oh, Canada” an intriguing realness, as he embarks on this story with a determination to confess about his past.
The testimonies are filmed by directors Malcolm (previously Michael Imperioli) and Diana (Victoria Hill), who were once students. Fife, portrayed by Jacob Elordi in his younger years, shares fragmented memories from his earliest time periods. He strives to remember his significant experiences as both a lover and an artist. However, due to his aging and mental challenges, Fife’s stories often blend with his work. In essence, fiction merges with reality. Moments of life appear as fleeting images in his mind. Throughout this process, Fife repeatedly calls for his wife Emma (Uma Thurman), who motivates him during his final days on Earth.
In a thoughtful reinterpretation, one could say that a poignant sadness subtly infuses the song “Oh, Canada“. Contrary to popular belief, the reunion of Gere and Schrader in their film “American Gigolo” is not about casually mentioning classic movies. Rather, they are delving into the truth that reminiscing about the past can often lead to disappointment. When viewing a narrative movie, you’re observing a particular slice of history, carefully crafted by those who decide what to include or exclude in the scene. This is much like how our memories function, especially when psychological issues start influencing them. The questionable accuracy of cinema intertwines with the capricious nature of memory in Schrader’s portrayal.
In the game of life, as I navigate through the intriguing narrative of “Oh, Canada,” it’s like my memories of Fife aren’t just stored neatly away, but are intertwined so deeply that I can only revisit them as an older man. It seems his past self, from 2024, is creeping into these recollections, making me wonder if he’s filling in the blanks in the present moment. The shifting colors and aspect ratios mirror the unstable nature of Fife’s tales from yesteryear. So, what exactly is the visual reality of “Oh, Canada”? Well, it remains a mystery, which only serves to immerse me deeper into Fife’s fragmented mindset. All these subtle details leave me pondering and immersed in an eerily melancholic atmosphere.
Despite the rich content presented in “Oh, Canada”, there are some rough patches to be found, such as occasional inconsistent editing and scenes that stray from Leonard Fife’s perspective. One example is a scene where Emma privately talks with Fife’s long-lost son, which doesn’t align directly with Fife’s experiences. These scenes serve to underscore the far-reaching impact of Fife’s legacy beyond his personal thoughts and influence on leftist documentary filmmaking. However, these abrupt departures from Fife’s limited viewpoint can feel a bit jarring in a production that otherwise maintains such psychological intensity. If only we saw events through Fife’s eyes, the claustrophobic atmosphere of “Oh, Canada” might be even more heart-wrenching.
In a somewhat playful nod to Canada, there are quirky elements (such as humorous hair colors and clothing choices to represent the younger member of Malcolm’s group) that prevent the film from reaching the heights of Schrader’s masterpieces like “Mishima,” “Blue Collar,” or “First Reformed.” Nonetheless, it remains a powerfully emotional film that intriguingly explores its lead character rather than glorifying him. Malcolm continues to extol Fife’s accomplishments in art and activism. Yet, all he can ponder is a life of desertion. Even during his idealistic youth (skillfully portrayed by Elordi), Fife was characterized by leaving things behind.
In the eyes of the general population, Fife is perceived as a groundbreaking figure. His stark narratives reveal not only a decaying world to him, but also the decay within himself. Canada’s conclusion, however, is not marked by violence or explosions. Instead, it showcases contrasting images: young Fife, full of optimism upon arriving in Canada, versus an aged Fife standing before death’s door. This introspective exploration may not captivate those who are skeptical about Schrader’s inconsistent filmmaking history (as hinted by last year’s poorly executed Master Gardener). However, for the rest of us, Oh, Canada resonates as a thoughtful and melancholic reflection on our limited control over our legacy and even memories. All we can do is share our stories and pray that someone, somewhere listens.
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2024-12-04 00:15