IL SOLENGO ... THE LONER (Directed by Matteo Zoppis & AlessioRigo De Righi) **

 

Mario Marcello was a hermit that the old village men talk about in this film that takes place in the valley of bush and caves in Italy. It is rumored his mother killed his father. She was said to be a witch, and had told her son never to talk to anyone. He never did. living in the cave. He had a temper and was completely self sufficient 

 The men in this film are more       captivating than the Mario myth.

   

Mario had a temper and was completely self sufficient.

The men ruminate on why Mario was the way he was. This film is boring and repetitive by atmospheric in a bucolic way. It was screened at RIDM (Documentary Film Festival).

                                              

THE COMIC SIDE OF BAROQUE IN AN UNFORGETTABLE CONCERT WITH LORENZO COPPOLA AND THE ARION BAROQUE ORCHESTRA

 Bourgie hall, November 13th

A uniquely exuberant, entertaining and educational performance

Last night in an Arion Baroque Orchestra concert - cleverly titled, “Operas Without Words --- Or Nearly” (English translation), the audience was treated to the genius of Lorenzo Coppola – a consummate clarinettist whose masterful playing obviously matches his passionate if not comical character. He completely captivated us as he interpreted using highly expressive verbal explanations what the characters were saying in two wordless opera works.  He did this by showing us how the instruments emulated the characters’ dialogues, inner thoughts, whimsical ways, obsession, doubts and anger. Indeed, the music became the characters featured in the program’s opera boufe/comedia dell’arte genre so popular in the mid 18^th-century. 

This music that took centre stage last night, and with Mr Coppola as our enthusiastic teacher and a conduit for the characters he conjured – thereby exciting our imagination. Suffice it understate that his showmanship and amazing musicality proved delightfully funny, freewheeling and refreshingly gregarious. He interacted with the orchestra, the soloist and us. No shyness here!

He embodied a theatrical performance and Arion played the game with him, - sometimes purposely having a viola or bass player play a lone long note after a musical phrase was completed. This evoked exclamations of disdain and rebuke from chair violinist, Chantal Rémillard (who did all this in good fun).  She shouted: “Nous sommes en concert!” and “Mais non!” This evoked much laughter from the audience.

Keeping in spirit with this light-hearted music, Mr Coppola informed us that opera boufe avoided the pomp and circumstance of royalty, such as in a coronation or the austere religiosity of the church. Rather, the program’s opera music brought to life the petty concerns and flaws of the mundane – specifically the bourgeoisie living at the time.  These operas often had no words; the music was the words.

Sometimes jumping on and off the stage or creeping along it, even imitating  via gesture, voice and instrument - the feminine against the masculine, we were utterly amused if not more at home with the music we were hearing. After all, it was the orchestra that had to create the scenes of the daily life of these people. As Mr. Coppola said; this was this music was like the cartoons of Bugs Bunny or the cinema music of today – full of surprise, spontaneity and character. It is visual music in essence.

There were two pieces by Mozart that featured words – through the warmth and expressive ease of soprano, Andréanne Brisson Paquin who performed an extract as Lucilla. Once again, Mr. Coppola gave us the back story. The character of Lucilla is from Martin y Soler’s opera Il bubrero di buon cuore and was used for the two arias by Mozart which were performed in Arion’s program. These arias were composed for the soprano Louise Villeneuve for in 1789. Lucilla was a manipulative woman who chose between two men; she wanted the one who had more money. That was the first topic in the first number performed. It was called, “Vado, ma dove?” 

 In another piece, Mme. Paquin reprised Lucilla, as she sang the air, “Chi sà, chi sà qual sia”. Of course our favourite teacher for the evening pointed out the instruments that emulate her husband who is angry at her for spending so much of his hard earned money, while she demurely appears innocent and wondering if he is jealous of suspicious. Mme. Paquin was enchanting in the role, so much so that we fell in love with Lucilla (despite her silly flaws, including her excessive love of money).  Mme. Paquin is an international multi-award winning soprano. As a singer, she could seduce any angry husband with her utterly pleasing high register and winning stage presence.

In the encore piece, “Parto, parto!” from la Clemence di Titus, both “dueted” – Mr Coppola played his clarinet d’amour which he called a “ridiculous-looking instrument” (it resembles a huge peace pipe) while she sang in harmony to it. Both related to one another in character- clarinet stealing the show too. The scene was beguiling both to the ear and eye.

In Haydn’s Symphony No. 73 in D major “The Hunt”, the theatrical style continued as Mr. Coppola crept across the stage stooping over like on-foot hunters quietly tracking the deer, then running like the deer, feigning rifles as the hunters, galloping like the horses in pursuit. He more or less re-enacted the entire “Chasse”. In so doing, he vividly put the music into context; the horn, clarinets and more musical instruments pumped up the scene following the cue of our actor/clarinettist cum animal/hunter  impersonator.

He truly showed off his virtuosity as a clarinettist in Mozart’s Concert for clarinet k.622 in A major. Amazing dynamics were accomplished as he played his clarinet d’amour. His clarity and dexterity was amazing. Here is an artist whose profound emotional breadth matches his technical prowess.

And let us not forget, that throughout the entire concert, there was no conductor there to hold it together. Instead, Mr Coppola decided to take his own seat in the audience and watch the musicians perform – when he was not required to play. After all, as he pointed out, there was no such thing as a conductor until 1820, and this wonderful music was written in the 1700s.

It was a concert of “firsts”. It was the first time this sterling clarinettist had ever performed with Arion, and perhaps the first time Arion performed an entire program without any conductor. Moreover, one must highlight yet another first for the orchestra: it is launching a brand new CD, Bach: Magnificat on the ATMA label. Recorded last summer, the long anticipated CD features the orchestra and five magnificent vocal soloists under the masterful direction of Alexander Weimann. More works are also on this CD, including two sacred masterpieces dedicated to the Virgin Mary. It’s Christmas-relevant for sure. Note that the works were performed during the closing 2015 Bach Festival concert held in Montreal’s Notre-Dame Basilica.

Arion’s next concert will take place on January 12th to the 15. The works of Telemann, Geminani and Bach are featured. Alexander Weimann on harpsichord and Vincent Lauzer on flute will “adorn” Arion’s adored- by-us all orchestra.

The website is arionbaroque.com

Call (514) 355-1825.

ANGRY INUK (Directed by Alethea Arnaquq-Baril *****

  

An outstanding documentary and a brave one at that. With the 1983 ban on seal hunting, the EU literally halted any economic prosperity for the Inuit. Subsistence is not enough for these First Nations People. They eat seal, wear seal, protect their bodies in seal skin and fur, but the anti-seal hunting groups refuse to meet with the Inuit to learn about their imperative for seal hunting and how it is done. 

Protests in Ottawa and Belgium did not produce the lifting of this ban. The tireless efforts of the filmmaker and the people who are in this film enlighten us viewers. Harpy seal pups are not hunted – just one of the misconceptions animal seal-rights activists have. This is an important documentary that demonstrates  how silly these people are – people who have never even traveled up to the Arctic to find out about a way of life that because of their ignorance, money and celebrity influence, the Inuit way of life and its  very survival is hanging in the air. This film was screened at RIDM.

Althea Arnaquq-Baril

IN DOG’S WORDS/ MUNDO CÃO (Directed by Marco Jorge) ****

               A one-of-a-kind plot with comedic and serious segments

Despite this low budget film, this action driven plot really gets to you. Santana is a great guy who catches dogs for the local neighbourhood animal shelter in a barrio of San Paulo. A Rottweiler is caught but his owner never claims it. The law says after three days it must be put down. He's a with a big heart who loves dogs and his family. 

Suddenly Babyface, its owner turns up, but it’s too late. Babyface is a loan shark who kidnaps Santana’s 10-year-old son to avenge the death of his dog. But the two share a love of the same soccer team, and they actually bond.

Ransom is demanded and Santana is forced to sell his beloved drum set. 

He not only loses it, but his wife is  fatally hit by a bus. Babyface must pay. Great acting, great situational moments and good focus. There are some unique side angels in characters behaviour that absolutely enhance this totally entertaining film which was screened at Montreal’s Brazilian Film Festival at Cinéma du Parc.

FIRE AT SEA (DIRECTED BY GIANFRANCO ROSI) ****

Lampedusa, a small island off Sicily has become the destination savior for hundreds of thousands of African and Syrian refugees piled like fish in smuggler boats that dangerously have diesel fuel flowing onto decks that burns the flesh. But many arrive dead; those that don’t, fall into the loving hands of the island’s key doctor and a team of rescuers who boat out to these death boats carrying human cargo.

A young boy on the island is always aiming his self-made slingshot at birds, or an imaginary machine gun at the port. He’s adorable, but will he become an adult who trades his toys for the real thing?

The island has its own way of survival, which involves fishing, religion, old Italian love song requests via radio and tight family cohesion. Survival on the island requires being comfy with the sea as well.

 

The heartbreaking scenes of young men gasping for their last breath as they are loaded onto a rescue boat tears at your guts. When will the rest of the word accept these refugees? If Lampedusa can, why not every land step up.  As the film's good doctor says:  “It’s our duty to help these people.”

 

                         This film opened up Montreal's Documentary Film Festival (RIDM)

                                               ________________________________________________________

             

HACKSAW RIDGE (Directed by Mel Gibson) *****+

This is the most moving yet brutally raw film I have ever seen.  It graphically explodes with unbearable suspense during one long war scene shot from various angles the savagely ruthless fight that took place in Okinawa Island. The hellish slaughter of hundreds of American soldiers trying to take the island from the Japs was poignantly real if not heroic.

 At the centre of this film is the highly religious medic, Desmond T. Doss (played with fitting humility by Andrew Garfield) who refuses to even touch a gun – let alone carry one.  Before going to battle, Desmond’s fellow fighters beat him up, even ostracized him for his pacifist stance. He was about to be court marshaled but his father was able to get that charge dropped. So off his son goes to the top of Hacksaw Ridge unarmed and with his fellow soldiers to enter a bloody hell that exacted countless lives on both sides. Up there he tends to the wounded, risks his total sacrifice, and once the soldiers finally win the protracted fight, Desmond stays behind to recover the wounded and tie them up to a rope one by one to slip them over to safety down the ridge as he holds the rope in his hand, burning his hands and risking his life to save 75 terribly wounded men. 

 I cried in this film. I was so emotionally moved by this true story that showed how Desmond’s bravery and unswerving belief in the Bible led to saving the lives of men who ended up idolising him.

        

 Desmond received the Congressional Medal of Honour. 

What a miraculous man!

What a miraculous movie!

 

                          

Legislating Language is Unfair

 A while back, you may have seen those lovely looking people on Montreal bus panels - their faces smiling over this message: “La langue française, c’est la langue Quebécoise” – something like that – with a ‘vrai’ in there; or,  written on French classroom walls saying, Le francaise, c’est la meilleur langue.”

It also appears on local French TV stations using a seductive voice-over in an haut-art ad, showing contented, successful people in several professions and trades (note that very few ‘Québecois’ blacks or Asians are presented). Both of these ‘enlightened’ ads are sponsored by l’Office de la langue française. I find it all deceptive. Everyone looks so happy and carefree. The ad with its soft, diffuse lighting looks like it was created by a cinematic art director. But what lies beneath the glow? The Office is actually sending a succinct message, telling all native-born Anglophones and thousands of immigrants that French is the magic bullet. It’s clever subliminal advertising.

We all know that French is the operative language in the province. Isn’t this a platitude, so why did ‘le Grand Frère’ spend lots of money on such an ad campaign? You don’t see in Argentina - where there is a massive mix of languages and cultures – an ad saying: “Espaňol, es la lengua de la Argentina; nor in Germany, Greece, Spain, France or Turkey.’. So what’s up? 

I believe  any "Speak French" ad is a highly visible attempt to remind all ‘outsiders’ that the ‘acceptable’ language is French. Unfortunately, this inference contains a subtext of exclusion: the ad devalues and even debases all other languages and their speakers. If you don't speak it, you don't belong here.

What I find appalling is the fact that this is the same kind of insidious knee-jerk reaction we get in racism. I say we ought never to judge a person by the colour of his/her skin or the language he or she speaks. This is not the way to go. It’s time we went past this. Intolerance is as easy to promote as lighting a match. Clearly, the intrinsic message in the ad is insensitive, and a tad incendiary, since it subliminally and subtly encourages us to think that we ought to disdain those who don’t use French every day in their lives here. It’s high time we begin to use our brains and a tempered heart to seize and appreciate every individual’s uniqueness. This is what defines humanity’s progress. Why can’t we have this message: «Le Québec, c’est la province ou chaque culture et chaque langue sont célébrées: un québécois traverse le monde ici; utilsant le français, ça va plus vite.» (The last part of this line is my conciliation to Bill 101).

When I was 16, I roomed with a francophone while studying Québecois French at Laval University one summer – a great experience. The following summer, I went to Glendon College to study ‘Continental French’. I learned French varies - not just the accent, but expressions here and overseas. My Haitian friend Marie from Snowdon claims that her French is the ‘real’ one; she’s a ‘vraie’ Quebecer.

I was nominated for a Mr. Christie award for my children’s book, ‘Les Cinq Sens en Folie’. Bilingual, even degreed to teach, I taught French in Ontario. My first job was in French here. I even taught drama and ESL at the French School, École Mont Royale, many years ago. But an incident taught me that exclusion is not based on language. I was invited by the Quebecois publisher to celebrate at a party. I made a comment (in French) that this is the way it should be: Anglophones and francophones having fun together, though I seemed to be the only anglais there. The cute fellow I was talking to yelled at me I would never be a Quebecer, I wasn’t wanted here. I persisted as I laid into a litany of my ‘French’ accomplishments, including my education, employment and Ottawa friends who were francophone. But I was a tête carrée according to this fellow. He had also written a kid’s book so I thought we had something in common – something to share. I felt rejected and discouraged, and left the party as an outcast. Maybe this incident was an anomaly, but this chap was refined, ‘educated’- Quebec’s pride.

Maybe l’Office needs a second ad that states: «La langue française, on vous admire pour l’apprendre, mais d’être accepté, ça c’est autre chose.»                  

Please Quebec, it’s time you started educating your own about tolerance, since you do have a generous immigration policy here (though the agenda smacks of ‘francisiation’: in numbers there is strength).  

Quebec is uniquely great because of its diversity. Legislating culture and language threatens the most priceless language of all: democracy.