Wilby Wonderful

I saw this film at the 2004 Toronto International Film Festival.

Wilby Wonderful is the latest film from director, writer, playwright, and actor Daniel MacIvor. Set in a small island town, the film follows a cast of characters (played by a veritable who's who of Canadian cinema) over the course of a single day.

There is the woman who grew up in Wilby, moved away, and returned with her teenaged daughter to reopen a cafe (Rebecca Jenkins and Ellen Page, who previously worked together on the MacIvor-penned Marion Bridge). There is one of the town's police officers (Paul Gross), and his businesswoman wife (Sandra Oh), who find themselves in a marriage that has drifted apart. There is the town mayor, played by Maury Chaykin, and a dyslexic painter, played by Callum Keith Rennie. And finally, there is a video store owner (James Allodi), who spends much of the movie making ineffectual attempts to commit suicide. Lurking under it all is a scandal that will affect them all.

The film takes a look at the connections between the people in a small town, their hopes and dreams (both realized and not), and their prejudices. It shows people trying to both discover new, and recapture lost, feelings. As Paul Gross' character puts it while standing on the shore, looking at the mainland: seeing where you came from lets you remember what you wanted for the future.

I really enjoyed this movie, my one Canadian pick for the festival this year. The cast acquits themselves well, and despite the relatively large number of characters, I didn't feel like I was distracted by too many story lines, or that any one character received more attention than the others. And despite the limited timeframe of the movie, a single day, the story did not feel rushed or hurried. I thought the resolutions found or not found by the characters followed from what was seen and felt on screen, and didn't come out of the blue.

Daniel MacIvor, along with pretty much the entire cast, attended the screening. MacIvor gave quite an entertaining introduction before the film and stayed afterwards for a Q&A session:

• MacIvor calls the film a "Canadian commercial film", and wanted it to be familiar, but with a twist to wake everyone up.

• The story took about three years to make it to the screen, starting from around New Year's Eve 2001 at a party of Canadian director Jeremy Podeswa.

• MacIvor wanted to write a "guy with a heart story" rather than his usual fare.

• The movie was originally to be called Honey, but then the Jessica Alba movie of the same name came out, which necessitated a change. This lead to the current title, which affected part of the story.

• MacIvor said the theater (and the movie) contained pretty much every famous Canadian actor, assuming Don McKellar and Sarah Polley were in the room (not sure about Polley, but I did see McKellar talking with the cast outside the theatre prior to the showing). He found it weirdly easy to get the cast he wanted, helped by being able to tell people that he wrote specific parts for them.

• MacIvor was asked if writing for a wide range of characters was harder than writing for a few. His response was that he wanted to learn how, and figured there was no better way than to try. He was worried that the audience might attach themselves to a specific storyline and spend much of the movie waiting to get back to their favoured plot, but those fears were dispelled by the excellent acting of the cast.

• Because the film is set during the course of a single day, editing and continuity is harder.

• MacIvor was asked if he is now favouring films over plays or vice-versa. He said he isn't favouring either, and is currently working on both a new play and a new screenplay. Asked about the difference between the two , he said that what he doesn't like about films (vs. writing plays) is that once a film is complete, he can't change it.

• When starting to write, things for the stage tend to start out post-modern; but for a movie, it is usually an idea about watching somebody.

• About the differences between film and theatre, he likes to use the quote, "it's not apples and oranges or cats and dogs, it's apples and dogs", they're completely different. He likes to think from the theatre background he's able to bring a collaborative, inclusive feeling to the set. Art in theatre is live in front of the audience, whereas in film it is light projected on a flat surface and the art has happened previously.

• As a writer, he finds that sometimes for film he writes too much.

• Asked about writing specifically Canadian stories, he said that while he has made a commitment to stay in Canada and more specifically, in Nova Scotia, he likes to keep stories open so that people do not focus on watching a story about a specific group (islanders, easterners, Canadians, etc).

Maybe it is just that I am a Californian and not a Canadian, but as an outsider, I have often loved Canadian Film. This is a prime example of what many Canadians seem to do that most US directors do not: take time to tell a story, not be afraid to show the dark side of characters, and trust actors to so what they do best.

I saw this film at OUTFEST, and was moved by a gay film that puts homosexuality in context: all the main characters of this film seek love and validation. All do it in different ways. All feel that they have been untrue to themselves, somehow, in this search for love. All seem to feel somehow thwarted by their past (or maybe, in the case of Sandra Oh's character, the most recent past), as well, in this hunt. The struggle of gay people to receive respect AND the love they deserve has been placed squarely into a larger context (we all have this same struggle for identity and validation); and I love this aspect of the film.

The film revolves around a few main characters: the man who comically tries to kill himself over and over, only to be interrupted at the most (in)opportune times; the painter who stalks him throughout the film, but who may also be his only chance at love; the real estate agent and her cop husband whose ideals have somehow drifted apart; and a hometown girl who has recently returned to town with her adolescent (and sexually coveted daughter, perhaps returning because of her sexual antics everywhere else they have lived. While each of these characters is certainly a "type," and has their moment of stereotypical comic relief, I was impressed at how director Daniel MacIvor showed the roots in reality for each stereotype, and allowed each Jungian type to have depth and a moment that ran against expectation.

The cast, as well, was fabulous. Sandra Oh is amazing at playing a together woman with another side. Rebecca Jenkins showed real sorrow beneath smuttiness. Even the actors playing the gay characters had moments of real transcendence, even though the suffering man in the closet and the lonely man chasing him theme has been played out before.

People walked out of this screening, so the film is obviously not for everyone. For me, however, it was a true tribute to the underlying humanity that brings messed up people together for the highest good.

The best thing this has going for it is the mood. The quiet evocation of a small island/town is pretty much dead on, with the slightly shabby businesses, people with small-scale ambitions, and hidden strings connecting everyone and everything. There are also some excellent performances, especially Sandra Oh, Rebecca Jenkins, and Callum Keith Rennie (for once showing his awkward, charming side rather than playing another psychopath).

There's both too much and too little going on, if that's possible. The various plot threads wander around before finally getting to what turns out to be the main plot. By that time, there have been a few too many scenes of people walking around while the soundtrack music plays. Some of the characters take too long to register, as well. The one who might be the most important, Dan Jarvis (the suicidal, soon-to-be-outed video store owner), never really registers at all--he never amounts to much of anything besides vague melancholy.

I don't blame the actors, really.....the ones we don't know well enough simply haven't had enough dialogue to let us know them. Fewer subplots and a little less wistful scenery montage would have helped the through-line considerably.

Put most simply, this has too much atmosphere to be a Plot Film and too much plot to be an Atmosphere Film. Not that it would ever have a chance to happen, but I think Wilby would have worked much better as a series.

Every one strays from the path of being a descent human being. we all have our own way of coping with life. where ever a person can hide, not to take responsibility for their lives. or compensate through being a workaholic, promiscuous, chasing money, or finding a mate to validate ourselves when we feel lonely etc...etc. people can complicate a glass of water. and so are the characters in this story. each one is their own worst enemy (arent we all) in this slice of wilby history. it's decision making time in wilby wonderful. am i going to continue avoiding the accountability of my life or am i going to change?

this film just reminds me of why i love independent, dialogue driven film. the beauty of the town isn't not to be confused with the kind of people that live there. each character was brought out into full dimension. and i was able to feel all their pain. the fact that i hated sandra oh, just means she's a great actress. if i were her husband in this film, things wouldve turned out different. my recognition for outstanding actress in this film goes to ellen page. i recommend this film to any one who is a member of the human race. i also have to thank Film Movement for delivery of this film to my home. we don't get any indies out here. if not for them, i've missed it.

What a little Life-Affirming gem this is; if it does nothing else, it leaves you with Hope. Performances are everything in a film of this nature....and, here, not one of them lets you down. These guys and gals 'put out' for us what the multi-millionaire, cookie-cutter stars of Hollywood quite often do not. So, just a comment or two concerning them and/or their characterizations:

= Sandra Oh---Gee whiz, where has she dropped out of? If you're a fan of hers from TV's "Grey's Anatomy," you ain't seen nothing yet. Till you see her here, that is. Can there be any wonder why she won a 2006 Golden Globe award?

= Paul Gross---Playing the 'almost' disillusioned husband and the oh-so-wise town policeman, he sneaks in under our radar and becomes 1 of 2 main axles keeping the town of Wilby rolling along. He's, simply, one of those types with a mission to do the right thing.

= Rebecca Jenkins & Ellen Page---Being mother and daughter, they bring us right into and under their skins (what tremendous performances).

= James Allodi---As one of "life's saddest", he gives us 2 instants on film when we see appear, in the lifeless eyes of a benumbed man undergoing both marriage breakup and devastating lifestyle change, 2 sparks of "Realization" (the first instant being a scarily breathtaking moment for us; the second a joyous one---you'll easily recognize them both).

= Callum Keith Rennie---If Allodi's 'Dan' is the one begging redemption in this movie (its "Life-Loss" so to speak), then Rennie is its "Life Spark." Aside from the town policeman, no other is as sensitive to everyone else and their needs as is 'Duck MacDonald' (to be stable, a vehicle needs at least 2 axles; Duck is this town's other). He is amazing in his perceptiveness...his caring...his persistence in landing who he knows to be the "love of his life." Showing my partiality (and preferences, I guess) I only wish that every film of a lighter, romantic nature (containing gay aspects, or not), had a Callum Keith Rennie.

Lastly, what Great and Uplifting closing moments we have been given: ...The Depth of Feeling and the Emotional Intensity reached in the final scene's pairing is palpable, almost overwhelming....perfectly capping a little--but monumental--film belonging in every movie lover's collection.

PS: In its release year, if any film would have been worthy of consideration for one of the several "Best Ensemble Acting" awards, this film certainly should have been foremost (I didn't find the multi-cast acting in the recently awarded "Crash" to be of any higher caliber).

PPS: You may learn more about this film by visiting its releaser: filmmovement.com