Performance, Realism and Melodrama

Toronto's Festival always provides a buffet of enticing choices for spectatorship of films from all over the world. Critics can follow favourite directors, genres or national cinemas; or selection of films can be random--what fits in the schedule or what films are likely to never surface theatrically again. Avoiding the growing flock of undistinguished Hollywood openings is easy because the Festival still fulfills a mandate to bring films from all over the world, unlimited by commercial considerations. Looking back at the more than 20 films I saw this year, I realize some films faded instantly, others have remained in my mind, prompting further reflection, even another viewing if possible. Most of the films I found impressive stand within contemporary strands of the great traditions of cinematic realism; and my attention was particularly drawn to the acting styles and performances in many of these films. Acting is one of the least analyzed of the aspects of cinema, even as our casual criticism so often refers to it. Realism, and the naturalist acting style most associated with it, is still often derided by film academics. But a simple evaluative polarity with realism subordinated to modernism and the avant-garde has not proven historically resilient. Realism and modernism, as styles and movements, have always been entwined and social realism clearly remains a vibrant, often radical, tradition in most countries. In fact, these films provided a fascinating snapshot of the historic lineage, its permutations, international migrations and contemporary ambitions. Rachel Getting Married and Happy-Go-Lucky were both avidly promoted for the outstanding lead performances. Anne Hathaway's Kym, a sardonically miserable, precariously recovering drug addict crashing through the weekend of her sister's almost idyllic nuptials, is quite a contrast to Sally Hawkins' irrepressibly positive Polly, just determinedly living a few days of her everyday life. But each memorable performance dominates the film and each film is organized around the intensity of that performance. Both films have since opened, although not widely, to critical and considerable, if modest, commercial success, again led by critics' acclaim and multiple award nominations for the leading actors. Rachel is an interesting example of a resilient genus of American films--a Hollywood director apparently responding to developments in European art cinema. Director Jonathan Demme's new film recalls some of the films of the DOGME 95 movement; this manifesto promoted a stripped-bare realism encompassing acting, camera and sound work, editing and narrative, posed against Hollywood spectacle. While most of the films associated with DOGME, such as Lars Von Trier's provocative work, go far beyond this aesthetic, the film that seems most apposite for Demme is Thomas Vinterburg's The Celebration. That film is similarly organized with a family gathering disrupted and galvanized by painful revelations. The work of other celebrated European realists such as Mike Leigh, Ken Loach and the Dardennes brothers doubtless provided inspiration as well. At the same time, Demme owes a great deal to the work of Robert Altman, another Hollywood 'art' cineaste, perhaps a film such as The Wedding, although without the uncomfortably acerbic humour or intricately multiple story lines. We can also see, in Rachel's intense roving hand-held cameras and intrusively revelatory dramatic structure, the impact of decades of American reality television, older verite documentaries or even parodies of such forms like The Office. Scandalous talk shows like Jerry Springer probably prepare us, with their serial confessionals and please for healing and redemption, for Kym's almost lost weekend. [ILLUSTRATION OMITTED] [ILLUSTRATION OMITTED] Demme emphasized in interviews the long work-shopping with the cast, the emphasis on ensemble and the incorporation of a feeling of improvisation--all part of the European inspirations. …

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