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    Wheatfield soul train

    MEDIUM COOL

    Toronto Eye Weekly
    03.03.05

    BY JASON ANDERSON

    In the months since it opened, Atom Egoyan and Hussain Amarshi's
    Camera media bar near Queen and Ossington has attracted no shortage of
    photo spreads for its chic design. Now they face a trickier task than
    impressing the style mavens: establishing a consistent sensibility for
    the programming.

    While some Camera selections have been appropriate to the vanguard
    nature of the space -- and its one major limitation, the lack of a
    35mm projector -- others could have just as easily appeared at the
    Carlton or a rep theatre. Of course, those places tend to discourage
    viewers from slugging back vino, so Camera wins points there. But due
    to its unusual combination of functions (cinema, bar, gallery) and
    Egoyan's rep as both auteur and cinephile, Camera can also afford to
    be more adventurous than other venues and show work that defies the
    conventions not just of multiplex fare but the middlebrow titles that
    dominate the art-house circuit.

    Opening this weekend for a seven-night run, Clive Holden's Trains of
    Winnipeg () is exactly the sort of movie that belongs at Camera --
    idiosyncratic, independent and supremely inventive. Holden's first
    feature-length work, it's part of a multidisciplinary project that has
    already yielded a book of poems, a spoken-word disc and a website, all
    with the same prosaic yet oddly endearing title. (Could anything be
    more Canadian?) Consisting of 14 "film poems," Trains of Winnipeg
    juxtaposes the poet and filmmaker's ruminations on landscape and
    memory with a wide array of visual strategies, including home movies,
    travel films and found footage, which are then goosed up with
    hand-processing effects and digital treatments. The richly detailed
    sound design incorporates eerie, loop-based music by Christine Fellows
    and the Weakerthans' Jason Tait and John K. Samson (Winnipeggers all).

    As much as I love Holden's movie -- it's one of the finest
    non-narrative movies ever made in this country -- I can understand if
    you cringe at the phrase "film poems." I did too. I imagined a
    slow-motion shot of geese in flight and a wispy-voiced narrator
    murmuring about the ineffable sadness of a beach at twilight -- in
    other words, something too pretentious to work in either medium, let
    alone both at once. There's also the larger question of whether film
    and poetry really belong together. If the best poetry consists of
    words arranged to create the purest, most indelible form of linguistic
    expression, then film strives to speak entirely through images. The
    ultimate ambition of each form is to negate any need for the other.

    Yet the film poem has existed for nearly as long as cinema. Sometimes
    cited as the first American avant-garde film, Charles Sheeler and Paul
    Strand's Manhatta (1921) used intertitles by Walt Whitman. Man Ray's
    L'Etoile de Mer (1928) is taken from a poem by Robert Desnos. The
    surrealists' flagrantly poetic school of filmmaking eventually yielded
    such works as Jean Cocteau's Blood of a Poet (1930) and Jean Vigo's
    marginally more narrative-based L'Atalante (1934). The exquisite
    collaborations between director Marcel Carné and poet Jacques Prévert
    in the '30s and '40s (most famously Children of Paradise) also bear
    traces of the French film-poem ideal. With Meshes of the Afternoon
    (1943), Maya Deren fused her interests in poetry, dance and cinema to
    establish a new mode of expression. The aphorism-filled essay films of
    Agnès Varda and Chris Marker established another, as did the wild and
    wordy fantasias of Derek Jarman. In Canada, the precise, haiku-like
    short films of Philip Hoffman have greatly influenced the experimental
    film scene.

    Holden deploys many of these approaches in Trains of Winnipeg as he
    explores and subverts relationships between word and image. In the
    opening piece, "Love in the White City," Holden's wry examination of
    urban dread is accompanied by the sight of his legs walking in the
    four corners of the screen -- the repetitiveness of the image and the
    looping, crackly music enhance the effects of the poem's subtler
    rhythmic structure and sense of futile motion. In "Burning Down the
    Suburbs," a family of miniature figures watch a model car in flames,
    dramatizing a scene that is not described in the poem but still
    complements the ones that are. The grainy, distorted home-movie
    fragments in "Nanaimo Station" seem as degraded as the narrator's
    falsely idyllic memories of his family in a time when "the food was
    like magazines and the cars were all big." In "Hitler! (revisited)," a
    tribute to Holden's schizophrenic brother Niall, onscreen text
    replaces the voiceover, a stylistic tack that emphasizes the
    interiority of Niall's existence. In the title piece, the words
    disappear altogether, replaced by the amped-up visual poetry of the
    trains.

    By the time the wheels stop moving, Holden has provided ample proof of
    the film poem's ability to engage and enlighten. Wry, wise and damn
    near sublime, Trains of Winnipeg makes you wish there were more movies
    just like it. Alas, the challenges of cine-poetry remain daunting, as
    they probably should -- when this stuff goes wrong, it can go
    eye-bleedingly, teeth-grindingly wrong. Even so, I hope Camera's run
    of Holden's mesmerizing work will inspire others to forego familiar
    tactics and try dreaming in verse.


    http://www.eye.net/eye/issue/issue_03.03.05/film/mediumcool.html

    From: Emil Lazarian | Ararat NewsPress
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