The luminaries of Canadian film Documentary asks, does Canada have its own national cinema? By Chelsea Blazer, The McGill Daily (McGill University) MONTREAL (CUP)—The question of what it means to be Canadian is not one that can be answered easily. It’s common to reduce our national identity to a few things many of us share: our love for hockey, our stunning landscape or our emphasis on multiculturalism. On the other hand, Canadian culture is often described not in terms of what we are, but in terms of what we are not. We are not immersed in violence, we are not a homogenous society and we are certainly not American. And, as it relates to the Hollywood phenomenon, a harder question to address may be, does Canada have its own national cinema? Northern Lights is a documentary that looks into the history of Canadian cinematography. According to director Antonio Galloro, the film “provides an homage to those men and women who are extremely talented, and yet [whom] the general audience really doesn’t recognize.” According to Galloro, cinematography is unjustly overlooked. “It is one of the finest forms of expression,” he says. “It is something that covers all forms of the arts.” Northern Lights highlights the talent of Canadian cinematographers such as Arthur E. Cooper and George Morita, who have escaped the shadow of their Hollywood neighbours. “My interviewees are people that I have previously worked with, people that continue to inspire me,” river up to the tip of Virginia Falls, providing the audience with an expressive image of true nature. In another clip, the audience is brought into an overwhelmingly produced shot of the Canadian television show Instant Star. Despite their opposing aesthetics, both clips eloquently capture the cinematographer’s ability to create a distinct point of view, no matter the raw materials. “It is one of the finest forms of expression. It is something that covers all forms of the arts” —Director Antonio Galloro, on cinematography says Galloro. “I have been fortunate to be able to interview such a talented group of individuals.” There is no doubt that in this film cinematography is displayed as a serious art form. “Cinematographers will make something fascinating out of anything they are presented with,” argues McGill film theory professor Alanna Thain. Northern Lights explores this artistic ability through the work of a wide range of cinematographers and diverse film clips. In one segment, cinematographer Robert Bocking leads the viewer through one of his favorite shots, taking us from a low point over a More broadly, however, the film introduces its audience to an analysis of Canadian cinematography, and leads the viewer to ask larger questions about Canadian filmmaking in general. Have we done well in supporting filmmaking in this country? Is Canadian cinematography considerably different from that of Hollywood? Ultimately, have we done enough in the world of filmmaking to say that we have:created a national cinema? “I’m still very uncertain of what a national cinema means,” says Thain. “In the Canadian context, it is very difficult to say that there is a Canadian national cinema. “In terms of lacking a Hollywood-type identity, it has made Canadian cinema mote likely to take risks with style, and the kind of ways of telling stories,” she continues. “In that sense, Canadian cinema is often closer to art cinema than commercial cinema.” But Canadian cinema is not without its faults, admits Galloro. Northern Lights addresses this in one particular interview, in which filmmaker Sarah Polley draws on her Own experiences as a woman ina field dominated by men. “There could be more support (for women),” Galloro comments. “Women aren’t really acknowledged like the men. There needs to be more emphasis put on their work and showcasing their talent.” What makes Northern Lights unique, then, is its failure to claim what is distinctly “Canadian,” while showcasing Canadian cinematography in a way that also reveals artistic talent, regardless of cultural identity or gender. It’s both an exploration of Canadian filmmaking and an attempt to define Canadian culture as not completely exclusive but rather as a conflicted and negotiated identity that both accepts and denies outside cultures. So, how you doin’? Italian Americans Reconcile in Douglas College play By Jay Schreiber, Arts Editor broken heart is difficult to mend, sometimes impossible. © matter the amount of poetry you write or partners you have afterward, there’s still something there that is keeping your heart from being whole. John Patrick Shanley’s play, Italian American Reconciliation, focuses on Little Italy in New York, where two best friends, Aldo and Huey, embark on plot to heal the severed bonds between Huey’s first wife, Janice. Huey has been a mess ever since Janice shot his dog, and despite three years of separation (and his new girlfriend, Teresa) he still can’t seem to shake the feelings he has for her. Paul Rowell portrayed Huey, the heart-broken protagonist whose plot to fix his love life became more intricate at every turn. Paul had a strong character and held great intensity in a balcony scene that even Romeo himself could take notes and narration were enjoyable where as his shenanigans kept the crowd laughing through every scene. Janice, the alcoholic gun-wielder who just about took of Aldo’s kneecaps and shot a dog in the name of Paul Rowell (Huey), had a strong character and held great intensity in a balcony scene that even Romeo himself could take notes from. from. His now-former girlfriend Teresa, the waitress at the soup stop, was played by quick-talking, finger- pointing Michelle Ross. The comic relief and standout role in the program had to be Carlen Escarraga’s greasy rendition of Aldo Scalicki, the womanizing Italian who helps Huey get his feet back on the ground. Carlen’s opening monologue attention, was given life by Katherine Ince. We last saw Katherine and Carlen paired up in the fall production of A Midsummer Night’s Dream, and the two had great chemistry on stage again in the second act. The supportive role of widower Aunt May was given to Meghan Dube, a surprising change from her usual casting. Meghan did a great job as the anything-but-youthful old Italian lady that was in Teresa’s corner during the break up. The production team and stage designers all deserve a huge pat on the back for putting a lot of effort into the production of this performance which breathed life into the reconciliation. Director Stephan Drover, who just finished his job as assistant director on Nixon in China, ensured that scenes played out smoothly and that the flow between characters was there. “In the end,” Aldo states “You’re born, and you die, but the greatest, the only success it to be able to love.” I guess that this one counts as a success, because it’s hard not to love this play!