The Saddest Music in the World

Guy Maddin just gets better and better. In this, his latest film, he's outdone himself. The fusion of content and style is so brilliant, clever, and emotional, the film has to rank as one of the best of 2004 even with the year not yet being half over.

Set in 1933, "the depths of the Great Depression", the location is Winnipeg, Canada, home of Lady Port-Huntly (Isabella Rosselini), the astoundingly wealthy beer baroness of Canada, who decides to hold a contest to select the saddest music in the world--for business reasons, of course. Among the entrants are her former lover, Chester Kent (Mark McKinney), his current lover Narcissa (Maria de Medeiros), Chester's estranged brother Roderick (Ross McMillan)--separated from Narcissa, and the men's father, Duncan (Claude Dorge). Duncan represents Canada; Chester, America; and Roderick, Serbia (of all places).

The prize is $25,000, a fortune in those days, so naturally there are entrants from all over the world--among which are Mexico, Siam, and Africa. The music is inspired, but eventually converges on the lilting popular American tune The Song is You, for which there are diverse renditions in the course of the film. The show-stopper is the version by Chester near the end, a big band production that fuses influences, in typical American fashion, from all over the world.

Familial tensions converge with unrequited love, and with the most peculiar prostheses anyone has ever seen--either in real life or on film. Lady Port-Huntly is a double amputee, and he whose reckless mistake resulted in her unfortunate current condition fashions for her a pair of legs that must be seen to be believed.

The entire film is shot using a blue-haze filter, with a faux stereopticon effect that narrows the viewing screen to that resembling what one would see from the early days of film, and with the faintest, subtlest and tiniest of lags in action-speech synchronization that makes this uncannily resonate as a work fusing a 30s setting, a pre-20s style, and a contemporary sensibility that knows how to combine these elements in the first place. This is a truly brilliant--I would even call it genius--approach to filmmaking that noone else in the known world even remotely approaches. Maddin is one of the contemporary masters of cinema and this is the proof.

As soon as this is available on DVD, I will buy it immediately. I suggest you do the same.

Don't be scared away by people who warn that this movie is too difficult or bizarre. This film will appeal to more than just the usual cabal of obscurantists and nerdy cultists. The plot is quite straightforward: a depression-era beer baroness commissions a contest whose aim it is to find the saddest music in the world. As a result, scores of zany musicians from around the world descend on frost-bitten Winnipeg to win a $25000 prize. Hilarity ensues.

That's not to say the movie doesn't have its fair share of the absurd, the bizarre, and the dark (it *is* a Canadian film, after all). Lines are delivered with strange inflections, characters' motivations are screwy, filmic styles are mixed. None of these, however, comes off as pretentious or forced.

The film explores the interesting paradox that despite the reality and ubiquity of real sadness, authentic expressions of sadness are difficult and rare.

And I thought `Dogville' was stylized. Canadian writer/director Guy Maddin ("Dracula: Pages from a Virgin's Diary,' "Archangel') has created a film like no other this year except possibly `Triplet's of Belleville.' `The Saddest Music in the World' is a `musical' set in Winnipeg in 1933, where Lady Port-Huntly (Isabella Rossellini) is holding a contest to award $25,000 to the saddest music performer. In `Depression Era dollars,' no less.

Winnipeg has been declared by the London Times `the world capital of sorrow' for the fourth year in a row. What happens in the film can be categorized as surrealism of the sort that marries the Melies brothers in their `Trip-to-the-Moon' wackiest to `The Twilight Zone' in Rod Serling's most hilarious (and that's pretty unusual) moments. Shot in distressed mode with 8 mm blown up to be grainy and silent movieish, `Saddest' has blue-grays and silvers and occasional bursts of washed-out color that give it an otherworldly cast meant to satirize the old movies and create a new look built on nostalgia and freedom from convention that some call expressionism.

Some of the bizarre acts vying for the prize are Fyodor (David Fox), a veteran of World War I representing Canada, who plays a deathlike version of ''The Red Maple Leaves'' on an upright piano he has turned over, and Indian singers in Eskimo costumes, who dance to ''California Here I Come'' with sitars and banjos commemorating a 19th-century kayaking accident. All the time an iris lens blurs the edges of the film to recreate the ancient look of film found in a vault after 50 years.

That Lady Port-Huntly needs artificial legs is not as bizarre as the back story of how she came to need them, and that the new glass legs have local beer coursing through them is just another creative and absurdist touch. With a resemblance to the robot in `Metropolis,' she is an amalgam of strange and prophetic moments in film and culture. I know I'm not making much sense here-Trust me that this film is bizarre enough to satisfy the geekiest cultist in our audience. For the rest of us, just trying to appreciate all the signposts Maddin constructs to further his absurd and funny vision is exhausting. Wordsworth's thoughts apply because we at least hear `the still, sad music of humanity.'

'The Saddest Music in the World' is a kind of pastiche of 1920s film-making, with interspersed scenes in cod-Technicolour; but to really give a flavour of its oddness, I should say that it's the tale of an amputee brewery heiress with a pair of glass legs, filled up with beer (writer Kazuo Ishiguro borrowing from one of his own novels in the story of how she lost her originals). In truth, this is a very silly film, but it's almost a triumph, in that the silliness is controlled, with every crazy scene is consistent in tone and adding to the bizarre atmosphere. But it's hard to assert that the movie amounts to much more than a demonstration that it was technically possible to make it - it can't be taken seriously, and it's not really funny (rather, it's the sort of film that only makes you laugh because of its audaciousness in what it dares to pass off as comedy). But you certainly won't see too many other movies like it; and director Guy Maddin makes brilliant use of the heart-shaped face of Maria de Madeiros, which he makes look as if it really has just heard the saddest music ever.

The credits rolled last night at 11:50 PM at the Sunshine on Houston Street in NYC.

Outside the theatre, I glanced up at the box office board: There was another viewing at 11:55 p.m. I impulsively bought another ticket and saw it again.

This is one of the funniest, most original and absurd movies I have ever seen. I feel like I can't believe I've actually seen it -- waking up dizzy at 2 PM today on a Saturday and pondering this movie.

All I remember is the wonderful music, the great one-liners, and those fanciful legs. Oh, for legs such as those!

Everyone must be forced to sit through this film as punishment for watching any television, ever.

Isabella Rossilini should be so proud of forging through the offers of banal roles and accepting roles such as this. It is not a surprise that the same actresss who allowed David Lynch to strip and bruise her in Blue Velvet would embrace such a role as Port-Huntley. If you're sad, and like beer, she's your woman!

The audience last night was howling with laughter and delight at the absurd and brilliant lines in this movie. There was so much to like about this spectacular musical.

But most of all, there were those intoxicating legs.