Strangers in Good Company

A superb movie dealing with life, the interplay of human strengths and weakness, and growing older. The movie uses non-professional actors playing themselves, and is wonderfully refreshing, thought provoking and moving. I give this movie a high recommendation.

This film will ring true to those of us who spent childhood afternoons with batty maiden aunts. Though batty maiden aunts vary in personality, temperament, and social skills you're sure to find one that is familiar because you have a whole busload to choose from. This beautifully shot and laconically paced film is sort of a rambling walk through the pasts of a group of older women from various backgrounds who get temporarily stranded in an isolated spot in Canada. Though the personalities of the characters are a little as-to-be-expected, the acting is guileless and the dialogue completely natural. Prepare to have your curiosity peaked about medicinal herbs, pornographic boot jacks, and the hunting habits of Cissy's cat. The only device I found a little annoying was the stopping of the action to show off old photos from the women's lives. It bothered me at the time, but looking back I understand what they were trying to do and even feel a little nostalgic about it; which, of course, is utterly appropriate. It's definitely off the beaten track, not either as flamboyant or banal as art films are want to be. But, In Good Company is definitely a well made piece worthy of a larger audience.

This charming film about a stranded busload of older women in rural Canada is mostly improvised with non-professional actresses. Yet we get to know each of the women, their pasts, their strengths, their hopes.

After their bus breaks down, the 7 older Canadian women and the younger bus driver (who sprains her ankle) wander down the road til they find a derelict house on a lake. It's an odd assortment of women who seem to have little in common, yet they find (and so do we) that our connections to one another always outweigh our differences.

Alice is a Mohawk Indian, Cissy, Beth, and Winnie are from England, Mary is from the USA, Constance was brought to Canada as a child, Catherine is a Canadian nun. Michelle is the bus driver. The women set to work exploring the house, finding food, making beds, etc. As the women work, they tell the stories of their lives. But they also discover their connections to nature.

Seemingly, the women have had ordinary lives with husbands, children, jobs, illnesses, losses. At various points in the film as each woman is telling her story, we are shown a small gallery of photos from her life. It's very moving to see the old woman telling her story while her youth passes before us in vintage photos.

There are many funny moments as the women try to fish, catch frogs, pick berries, or play. Most of the women settle into their temporary world quite well. A couple remain mostly outside the group.

What the film ultimately shows us is that even in old age, we can learn, experience new things, enjoy friendships, and even find joy in old age.

This is a remarkable film.

I don't know where you'll ever find another film quite like STRANGERS IN GOOD COMPANY (or The Company Of Strangers, as the title appears on the DVD). If you want more from a movie than action, special effects and cliche situations and characters, are willing to be just a bit patient (as life sometimes requires) and, most importantly, understand that every human being is interesting in their own way and has their own story to tell, this film will reward you generously.

Eight women - all senior citizens, except for the driver - are on a small bus traveling through the Canadian countryside. We don't know who they are, or where they're going (though the production notes on the DVD explain it), except that they're making a small detour to see the lakeside cottage at which one of them spent summers in her youth, when the bus breaks down and strands them.

As they set about dealing with their predicament, we come to know these women, and learn that each is a survivor of one or more cruel blows: major calamities such as the Blitz, a bad marriage or the death of a child, or the more quiet calamity of illness and the alienation that can come with old age. To put it another way: life. Mind you, these are not tragic, "damaged" people; it's just that they've experienced the range of ups and downs that any full life contains, and therefore assess their situation as not much more than a temporary inconvenience, coping with it in the most practical of manners: attempting to repair the bus, seeking shelter and food, making sleeping arrangements and, yes, even entertaining themselves and each other, until help can arrive or be found.

In the purest sense, this film is about surviving, and living, which can often be two different things. If there is a "message" here, it's embodied in the moment when several of the women gather on the porch of the abandoned house in which they've taken refuge and, both as a call to anyone who might be within earshot, and as a personal affirmation, shout into the wilderness, "We're here....we're alive!"

The characters and their interaction are so genuine and moving, the effect is almost startling. In the midst of idle chit-chat during a mundane task such as picking berries, long-harbored and deeply felt pain can be revealed and shared and, within moments, the small talk is resumed. This is, of course, not the way such things are handled in major studio movies, but it is the way they often happen in real life, and this - along with the 110% believability of the performances - is what gives these scenes their power.

Both the film and the characters are at once open yet enigmatic. This is not the geriatric version of The Big Chill; questions are left unanswered and issues remain unresolved. Without standard contrived crises and manufactured conflict, what this film delivers is so fascinating simply because it's so real. If you possess even half a brain and an ounce of sensitivity, I can't imagine your finding this group of women anything but the very best of good company.

I saw this originally in 1990 on PBS American Playhouse. That series (American Playhouse) often aired these little "gem" films and it's a great shame that the series is no longer on PBS. But times were different then.

Anyway, this film is one of those gems. No plot needed here, one can quickly become involved with each of these ladies and their lives...their performances are so poignant and delicate as our real lives are and their tales could be anyone's. There are some funny sequences, and the lady named Cissy is just precious--she has a great laugh and her face is so bright and cheery. She could be the great lady next door who becomes a wonderful neighbour to invite in for afternoon tea.

For me, the real treasure of this film's effect is the feelings tinged with sadness, especially for the lady/character named Constance. What a superb lady. She could be my own grandmother! I have now watched this film several times, and each time I see Constance with her face full of pain and remorse for something past, it pains me to watch. When she is standing there all alone looking out onto the lake listening to the birds or trying to hear them and she drops her medicine pills into the lake, as if she wants to die....it causes me such pain to watch. Later in the film, when she tells Mary she can't hear the bird singing, but she would give anything to hear the bird again, I cried like a baby.

I am rather suspicious that much of the ad-hoc performances from all the ladies were left on the cutting room floor and that is too bad. I would have wanted more from each one of them, but most especially about Constance. Her eyes often look so full of tears, it makes me want to reach out and hold her!!! I am teary-eyed just typing this about her. Constance, wherever you are now, thank you for allowing us into your life, however briefly.

All the ladies are brilliant and I highly recommend this to anyone who have great-grandmothers, grand-mothers and yes moms too, because they could have been in this film.