Two friends leave the picturesque yet rural province of Nova Scotia for the nightlife and culture of Toronto. They soon end up wistful and nostalgic about Nova Scotia though after finding out that Toronto isn't as fun as they'd hoped.
Recently retired and living in Vancouver, Pete is estranged from his old life in Eastern Canada until he is brought back to Toronto and Nova Scotia by the news that his old best friend, Joey, has died.
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Story of desolation as two friends travel from Nova Scotia to Toronto in hope of finding a better life. Drifting from job to job: bottling plant, car wash, bowling alley, newspaper delivery, and in between enjoying the night life of the big city. Their previous life is looking better all the time. This movie is a time capsule of Toronto's Yonge Street - record stores (defunct A&A's), bars, and old neighbourhood side streets. Written by
Sven Kahrkling <firstname.lastname@example.org>
The car that Peter and Joey drive is a 1960 Chevrolet Impala convertible. See more »
I'm not going to work today.
Okay, suit yourself.... Jesus, Petey! Hey, Pete, you can't take no day off! We only been here a month, you think they're not gonna know something's up?
I don't give a damn. I can't go horsin' around with broads half the night and drag my butt out of bed a couple'a hours later. All that dumb Selina does is talk. Last night she told me about her mother and her brother's hernia operation and Christ knows what.
I thought you were really ...
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Although most great directors concentrate on the visual aspect of motion film and use music as background noise, if used at all, there is much more to film than the visual aspect. The visual textures do make up most of the film, whether it be camera angles, colors, etc. But since the early 1900's film has been made with sound, so there is that angle as well.
In this movie, Donald Shebib plays with all sorts of textures: the color, the visual, the audio, etc. The music is used in the foreground in places while the movie shows the story instead of constantly dragging it on and telling it. I also find that the soundtrack in a movie can sometimes ruin it by interrupting what the director sets up, but in this film it belongs.
Of course, this just happens in some points of the movie, which is what makes it unique for the time. The rest of the movie involves a great story superbly acted out. My main point is the irony of this movie as the "great Canadian Classic" in that Donald Shebib included the music score purposely to link the parts of the movie. I am reminded that in the sixties and up to the point of this movie, Canada had a poor music industry. Besides a few bands such as the Guess Who and Bruce Cochburn, radio stations would say they were "reaching into the beaver bin for some droppings" whenever they were forced to play a song from a Canadian band by Ottawa to promote the industry. Our film industry was just as poor. However, because of Ottawa pushing to promote our music industry we now have great bands like The Tragically Hip, The Headstones, Great Big Sea, so on and so forth, and the world recognizes them. However, look at our film industry: does the world recognize Guy Maddin? Does the whole country anticipate a new movie from Cronenberg or Egoyen? Does Bruce MacDonald get much recognition south of the border? And this is the Great Canadian Classic, how many people do you know that has seen it? This is a movie worth seeing by people of any country. But if only our film industry was supported like the music industry was, we could make movies even better than this.
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