Das Glück des Ginger Coffey

When this film first appeared in 1964 I was a child of 11, newly arrived in Montreal myself from the (then) small city of Edmonton Alberta. Montreal was the 'big cosmopolitan city' , where men were men, and women were goddesses. And so they were. Even I, a small gorfy kid, got my first wolf whistle on those very streets before I was 13.

I wanted to see this vision of that time, even if in black and white, because my Montreal included only b&w TV at that time, even though Montreal was a collage of colors, snow & more snow. And this film IS my Montreal, complete with bilingual signs, belching buses and the beginnings of the English/French conflict that would eventually send me fleeing to English Toronto.

Within my own family, there were Irish, English, Polish immigrants and more - my father was French Albertan, my mother Quebec English - truly Canadian, we epitomized the Silent Revolution. Clinging to my Irish/English background, I understood the prejudices immigrants knew.

Robert Shaw is brilliant as Ginger. He is the quintessential immigrant convinced that life in Canada will be the bright future he deserves. His wife, Vera (Mary Ure) is the terrified woman who has followed her husband's dream, but longs for home. His daughter Paulie is me - scared and defiant in a new world.

Ginger can't find a good job' he's hampered by the lack of a proper college degree since he ran away to War instead of finishing school. He also believes that his age and experience qualify him beyond a training position, as he feels he's quite capable of positions above his actual education and experience. He may be right, but his employers disagree. In the one instance where his natural instincts and intelligence unite to shove him above the average, he's too particular to even see that he's found his own niche.

The story of one man's struggle in the New World is not unique; Brian Moore's belief in the essential optimism of the Irish character lifts this small tragedy to a greater good. Despite the apparent spiral into despair and alcoholism, the ending suggests that there is hope, that Ginger and Vera will persevere, and that Ginger's inherent belief that "Life is in the Living" will pull all of them through this struggle to a future that may not be of their dreams, but will be sufficient to take them to a better world than they could have hoped for in Dublin.

Ginger Coffey's story is not a tragedy, it is a monument to the people who came to Canada and the US to raise the bar for those lucky enough to be born in these countries. It's a lesson for all of us who take our birthright for granted, who will never understand what it's like to be a "Stranger in a New Land".

If you are lucky enough to see this film, most likely on television, take a moment to remember the time, and the circumstances, before political correctness allowed every Canadian and American, born or newcomer, to a piece of the pie we call the North American Dream.

Ginger Coffey (Robert Shaw) moves with his wife, Vera (Mary Ure, Shaw's real-life wife) from Dublin to Montreal, to make a new life for them and their daughter, Paulie (Libby McClintock). This film chronicles their struggle to gain acceptance, in a New World which doesn't immediately recognise Ginger's potential and leaves him to work at menial jobs to support his family.

Mary Ure made very few films during her short life, mainly working in the theatre, but here she is excellent as the worried wife who wants only the best for her family. As Ginger, Robert Shaw is excellent and fairly restrained when you compare this film with his later work which became something of self-parody. Montreal is also represented in an honest way within this film - it is a New World which has hope and opportunity, even as its immigrant population face their own problems and overcome them.

Little-seen these days, this black and white sixties gem is underrated and deserves wider exposure.

The author Brian Moore once said he preferred to write about life's failures since like Tolstoy's happy families successes tend to resemble each while failures are always failures in specific ways.

Robert Shaw in the title role as a garrulous Gaelic dreamer definitely qualifies in this adaptation by Moore of his own novel, in which the black & white photography of Manny Wynn vividly evokes the setting of a wintry Montreal.

Providing a good reminder of the time when director Irving Kershner occupied a niche making eclectic independent features long before he ultimately joined the 'A' list, it also has a haunting score by Bernardo Segal who would work with Kershner again on 'Loving'.

Ginger Coffey (Robert Shaw) and his wife Vera (Mary Ure) with their daughter Paulie are struggling in Montreal. He can't seem to keep a good job, but keeps hoping for a break. Vera expects him to buy boat tickets back to her family in Dublin. He finally tells her the truth. He has already spent the ticket money. He cannot stop lying and she has enough.

This is a Canadian movie that feels a lot more like a British film about the lower class. Robert Shaw has a lot to do with that and he's magnificent. This feels like a Ken Loach film. The man is spinning a lot of plates and they keep falling over.

I'm writing this review as one of Mr. Robert Shaw's biggest fans. He utterly shines in this movie. This is one of his early, largely overlooked classics. When I need an overdose of RS, I put this one on. This film comes off raw, realistic and almost agonizing. Halfway through the movie, I feel so bad for Ginger and his impossible dreams. Shaw emotes Ginger's frustration and optimism with equal ease. Great location shooting, and Mary Ure always makes my heart wince. Excellent vehicle for the couple; Mr. and Mrs. Shaw shine in this one, folks! Simple Shaw before Quint, Treece and Kabakov came along.