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Cowards Bend the Knee or The Blue Hands (2003)
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Overview
User Rating:
Your Rating:
Director:
Writer:
Guy Maddin (writer)
Release Date:
29 December 2004 (France)
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Plot:
It's time for hockey! There's no telling what will happen when the Winnipeg Maroons' own star player...
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Awards:
1 win
&
1 nomination
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User Reviews:
Dead Life
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Cast
(in credits order)
Directed by | |||
| Guy Maddin | |||
Writing credits(in alphabetical order) | ||
| Guy Maddin | writer | |
Produced by | |||
| Philip Monk | .... | producer | |
Cinematography by | |||
| Guy Maddin | |||
Film Editing by | |||
| John Gurdebeke | |||
Production Design by | |||
| Shawna Conner | |||
Art Direction by | |||
| Craig Aftanas | |||
Set Decoration by | |||
| Shauna Evans | (decors) | ||
| Brad Jonasson | (decors) | ||
| Zarah Laszlo | (decors) | ||
| Rodney LaTourelle | (decors) | ||
| Deb Mosher | (decors) | ||
| Jesse Peterson | (decors) | ||
| Michael Stecky | (decors) | ||
| Ian Yorski | (decors) | ||
Costume Design by | |||
| Meg McMillan | |||
Makeup Department | |||
| Beverley Hamilton | .... | key makeup artist | |
Production Management | |||
| Tracy McBride | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Ruben Guzman | .... | assistant director (as Rubén Guzmán) | |
| Rebecca Sandulak | .... | first assistant director | |
Camera and Electrical Department | |||
| Ruben Guzman | .... | associate director of photography (as Rubén Guzmán) | |
| Ruben Guzman | .... | second cinematographer (as Rubén Guzmán) | |
| Geoff Heath | .... | best boy | |
| Scott Jaworski | .... | gaffer | |
| Spencer Maybee | .... | key grip | |
| Rebecca Sandulak | .... | still photographer | |
Other crew | |||
| Ruben Guzman | .... | associate director (as Rubén Guzmán) | |
Distributors
- E.D. Distribution (2004) (France) (theatrical)
- Zeitgeist Films (2004) (USA) (theatrical)
- The Power Plant
Additional Details
Also Known As:
"The Blue Hands" - Canada (English title) (subtitle)
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Parents Guide:
Runtime:
60 min
Country:
Language:
Color:
Aspect Ratio:
1.37 : 1 See more »
Certification:
Filming Locations:
Did You Know?
Trivia:
Alice Krige was Maddin's first choice to play Liliom, but was unable to appear in the film due to an illness.See more »
Movie Connections:
Featured in Weird Sex and Snowshoes: A Trek Through the Canadian Cinematic Psyche (2004) (TV)See more »
FAQ
This FAQ is empty. Add the first question.See more (9 total) »
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| IMDb Drama section | IMDb Canada section |
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company.
When you love someone deeply, everything seems deep. When you love them in reality, sometimes the experience is ordinary.
Real films have that element of romance and in a way a filmmaker has arrived in my life if he or she makes a film that doesn't affect me. But of course that's after this person has already burned a door into my heart.
Maddin is on my list of the very best filmmakers, and on a much shorter list of the ones that matter and are still working. He's changed the way I dream. Some of the visual humming I do to myself is his tunes. So I consider it a sort of triumph to have a relationship with him where he says something that matters to him, and he says/shows it with the same skill as before... and it doesn't matter to me.
Its a sort of transcendent Zen thing to be able to know something so deeply to be able to discard it easily.
This is a film put together from his own life. Its a different sort of narrative adventure than we usually get from him. Usually we have an inner substrate, a narrative model made explicit in the movie that is preserved enough for us to see the contrast between it and the way we are seeing it. A virgin's diary, a sad song. Here, the narrative is a life proper. The reason it fails for me is that I already know what I need to about this mind, because he gave us sticky artifacts that are sent out into an ether where souls flit. This time, he cannot do that, the artifacts stick to his embodied life, not mine. For me to accept this, I'd have to have some sort of resonance with him as a human.
And I don't. I cannot. Its part of the arrangement when you begin as we have: he's the sender, I'm the lucid receiver. We both cannot be receivers, the way he has structured his art. I think I will advise you to stay away from this if you are serious about Maddin. It will take me some time to recover the ability to accept things from him as selfless, world-connected art.
He knows this. There's a bunch of business about humans as wax statues.
Ted's Evaluation -- 2 of 3: Has some interesting elements.