Daniel Garber talks with Will Bowes about CBC Gem’s new series Hey Lady!

Posted in Canada, comedy, Meta, Music, Toronto, TV by CulturalMining.com on February 14, 2020

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Photos by Jeff Harris.

What do you call a rude, audacious and incorrigible senior citizen who has inflicted her idiocyncracies on her adult chidren and absolute strangers alike? What do you call a woman who shoplifts, puts lipstick on random babies and rants at everyone around her? What do you call a possibly demented and definitely insulting woman who named her three children after famous dogs? A woman who desperately needs you to pay attention to her? If you’re like most people, you probably just call her “hey lady”.

Hey Lady! is the name of a new web comedy series, premiering on CBC Gem on February 14, 2020. It stars the legendary actress Jayne Eastwood, is written by playwright Morris Panych, and is co-directed by actor, singer, songwriter Will Bowes.

I spoke to Will at CIUT 89.5 FM. His new single The Devil I Know is on Youtube.

Hey Lady starts streaming today in Canada on CBC Gem.

October 12, 2012. Revisionist History? Films reviewed: Argo, Stories We Tell

Posted in 1980s, Canada, CIA, Clash of Cultures, Diplomacy, documentary, Drama, Espionage, Family, Iran, Thriller, TIFF, Toronto, Uncategorized, US by CulturalMining.com on October 13, 2012

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.

History is always changing: it depends a lot on who the storyteller is. And, often, the most recent storyteller owns the story, for the moment at least, and controls that history. This week I’m looking at two movies that retell events in Canadian history. One’s a thriller that retools a famous story of Canadian heroism in Iran; the other is a personal story about a woman who wants to find out what happened when her mother went to Montreal… in order to be in Toronto.


Dir: Ben Affleck

It’s late 1979 – the Shah of Iran who fled the country, has been allowed into the US, and, because of this, back in Tehran, angry, anti-American demos are in full swing. Furious students storm the walls of the American Embassy even while the staff on the inside are busy shredding all the files. A few manage to escape through a side street and are secretly rescued by Ken Taylor, the Canadian Ambassador, but the rest are all held as hostages inside the occupied US Embassy. The escaped six are safe in the basement of the Canadian diplomat’s home, but for how long? Meanwhile, those darn hostage-takers are sorting through the shredded documents and will eventually discover that there are six missing diplos hiding somewhere, and what they look like.

Meanwhile, back in the States, a young CIA agent named Tony Mendez (Ben Affleck) comes up with a plan to get them out of Iran – he’ll pretend they are Canadian filmmakers! So he goes to Hollywood and arranges the whole thing with the help of funny and obnoxious industry-types (John Goodman and Alan Arkin), then flies off to Iran with Canadian passports to save his countrymen. Will they pass as Canadians? Will they be able to leave the country? And will the whole Hollywood back-story hold up before the Revolutionary Guards?

Argo is a fun, exciting movie with a cool, unbelievable plot, and lots of thrills and suspense to keep you captive. Audiences were cheering when I saw it at TIFF, and I left feeling good. The acting is fine, the early 80’s look of the film is cool (though I doubt conservative diplomats were dressed like San Franciscans) and the story is exciting.

(Personal connection: in an earlier TV version of the Canadian Caper starring Gordon Pinsent as Ken Taylor they used Toronto’s Polish Cultural Centre on Beverley Street — just down the street from where I lived at the time — as the stand-in for the Canadian Embassy in Tehran.)

It has a few problems though. It makes the CIA into the heroes! Remember, they’re the ones who overthrew the democratically-elected PM Mossadegh in the 50’s when he nationalized their oil industry. They also helped found the Shah’s dreaded SAVAK – whose torturous methods was one of the biggest reasons for the demonstrations and hostage-taking. The movie never makes clear the CIA the skullduggery that led to this crisis.

Second, it falsely makes Ken Taylor and Canada in general into a funny side-kick to the supposed heroism of a low ranked CIA agent (though I understand they’ve changed the very offensive final titles from the version I saw.) Anyway, I shrugged that off when I saw it – it’s just a movie.

But most of all I was disturbed by the way it made all Iranians in 1979 look like evil villains out to destroy a besieged America – a hell of an image to present in an election year when there’s a big political push to bomb that country.

But… whatever, it’s a good movie anyway, well worth seeing.

A very different kind of revisionist history is

Stories We Tell

Dir: Sarah Polley

Sarah Polley’s wild, blonde actress mother Diane died when she was a child, so she was raised by her kindly, stiff-upper-lip dad, Michael. So to find out more about her past and that of her mother, she enlists her brothers, sisters, family friends and relations to tell their versions of their past, and illustrates it all with found Super-8 footage from her dad’s collection. He narrates the story from a recording booth and Sarah documents her own search for history. But… during this search she discovers that, not long before she was conceived, her mother went away to Montreal to act in a play there called “Toronto” (by David Fennario). And while she was there, rumour has it, had an affair with someone from the cast – maybe Sarah’s father isn’t her biological parent!

I am not going to give away Sarah Polley’s family secrets – but, that’s just part of what makes the film so fascinating.

This is an amazing family story told by an unreliable narrator and with lots of misleading half-truths, myths, lies and legends. One of the characters produced the classic Canadian film “Lies My Father Told Me” which sort of sets the tone for this doc. What’s real? What’s a trick? You discover that the big happy family you assume you’re watching at first never really exists as a single unit. Off-the-cuff narration is gently exposed as scripted and directed. And even the found footage is revealed as part genuine, part manufactured.

This is a fantastic blend of truth and re-creation that Sarah Polley keeps small. She does everything right: stays largely off-camera and concentrates on the story. And she’s carefully to occasionally expose the artifice of filmmaking, including docs. This isn’t one of those awful celeb stories with teary revelations and maudlin music. It’s a clever and funny — but still very touching — meditation on Canada, Sarah’s history and the meaning of family.

Great doc!

Argo and Stories We Tell both played at TIFF and are opening tonight in Toronto. Also opening this week is Ira Sach’s Keep the Lights On, an epic drama of love, addiction and gay life in Manhattan.

This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website, culturalmining.com .

June 29, 2012. Family Secrets. Movies reviewed: People Like Us, Take This Waltz

Posted in Canada, Cultural Mining, Drama, Family, Movies, Toronto, Uncategorized, US by CulturalMining.com on June 30, 2012

Hi, this is Daniel Garber at the Movies, for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, genre and mainstream movies, helping you see movies with good taste, movies that taste good, and how to tell the difference.

Till death do us part they say, but it’s not always as simple as that. For, when it happens, parting is such sweet sorrow… This week I’m looking at two family dramas. One’s a Canadian movie about a Toronto woman who has to choose between staying with her stay-at-home husband or parting to live with the guy across the street; and an American movie about a man who finds out that his late father faced a similar choice many years earlier.

People Like Us
Dir: Alex Kurtzman

Sam (Chris Pine – Star Trek’s new Captain Kirk) is a wheeler-dealer sales exec in the rarified profession of commodity barter trading. But on the same day he makes a grave shipping error, and he also finds out his estranged, music exec father has died. So, under protest, he flies out to Los Angeles or the funeral. And he discovers he’s inherited a zippered dop kit, with 150K in cash, and a note – saying he has to find a woman and give her the money.

But he needs the money, hasn’t a moral bone in his body, and hates his father Gerry. No reason to do it. Gerry was a record company dude whose claim to fame was discovering Kajagoogoo. But Sam soon discovers this woman Frankie (Elizabeth Banks), in fact, is his sister. He gradually makes friends with  bartender, AA veteran, and single mom, without telling her who he is. And also becomes a sort of a mentor for the jaded Josh, her 11-going-on-65-year-old son. Josh (Michael Hall D’Addario) talks like a 65 year old blues singer, and is caught blowing up his school swimming pool.

It’s up to Sam to try to make things right again, even as his job is on the line, his girlfriend is fed up with his lies, and he has yet to accomplish anything worthwhile with his life.

Will Sam ever come clean as to why he’s hanging out with Frankie and Josh? Will he give them the money? Will Frankie stop bartending and pursue her dream — landscape architecture? Will Sam’s mean, bitter mom (Michelle Feiffer) — she’s not passive aggressive she’s active aggressive! – ever answer some of his questions? And will this confusing, hidden family ever be a single entity?

People Like Us is a surprisingly engaging movie, even though its story is nothing more than a typical Movie of the Week. The dialogue is witty, the acting is good, and the plot turns, though predictable, keep the story going. (And it even has a walk-on role for Mark Duplass as Frankie’s casual sex partner. That’s surely a record: three Duplass movies in 3 weeks, plus the DVD release of Jeff who Lives at Home.) This is a good movie if you like dysfunctional family dramas.

Take this Waltz
Wri/Dir: Sarah Polley

Margot and Lou (Michelle Williams and Seth Rogen) wake up each morning saying how much they love each other – so much s0 they’d gladly poke each other’s eyes out. Such love you seldom see. It’s a happy but boring relationship. They sleep in the same bed, and live and work beside each other in the same house in Parkdale, downtown Toronto… basically they’re together 24/7. He does cookbooks, she’s a freelance writer. And they get together with Lou’s loud extended family, including his sister recovering alcoholic Geraldine (Sarah Silverman).

But things start to change when Margot goes on a trip to a colonial village in Louisburg to write a pamphlet for Parks Canada. Watching a reenactment of a colonial punished for adultery, she meets a flirty, obnoxious guy named Daniel (Luke Kirby). Sparks fly. And when they’re back in Toronto, turns out the rickshaw driver and secret artist… lives right across the street from her.

What’s a lady to do? The right thing or the lustful thing?

Take This Waltz is a daring movie. It’s filled with some very funny scenes – like an aqua fitness class – and some images that will stick with you, like an amazing psychedelic ride at an amusement park on Toronto’s Centre Island to the tune of “Video Killed the Radio Star”. She also takes risks – like an extended nude scene with Michelle Williams and Sarah Silverman in a women’s shower room, that shows real bodies of all ages and types.

And it has countless, wonderful locations all around this city – Kensington Market, Lakeshore, the Royal Cinema… A beautiful view of Toronto. So I wanted to love this movie, her second picture, following her great debut Away From Her. But I just couldn’t. The last twenty minutes or so are just excruciatingly awful and completely incongruous with the rest of the movie.

It shifts from an uncomfortable marriage to an extended sequence – possibly a fantasy montage – of what happens to her once she makes her decision. I guess that’s there to tie up various loose ends, but it leaves the viewer scratching his head and squirming at this uncomfortable addition to a lackluster family drama.

There are lots of good reasons to see this movie, but I can’t say it worked.

I don’t want to leave you with the impression that People Like Us is a “better” movie than Take this Waltz. Take This Waltz is a potentially great film that tried but failed, while People Like Us is an ordinary M.O.W.-style family drama with a clever script, likeable stars and a watchable, if unoriginal, plot. It was capably done and worked well. The thing is, I’ll long remember scenes from the failure, while I’ve already forgotten most of the one that worked.

Take this Waltz and People Like Us both open this weekend — as does Todd Solandz’s excellent Dark Horse — check your local listings; the ICFF Italian Contemporary Film Festival continues through this weekend, closing with the Toronto Premier of Woody Allen’s latest film, To Rome, With Love. Also check out the Toronto After Dark series on Wednesday nights at the Bloor, for lots of gore, shocks, found footage. Next show: July 11th.  And the very cool Japanese anime and cult movie fest called Shinsedai starts in mid-July this year.

This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM, with podcasts and complete reviews available on my web site CulturalMining.com.

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