Wilby Wonderful

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.

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).

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

A day in the life on Wilby Island, off Nova Scotia, may not sound like a resource for rich storytelling, but in the gifted hands of writer/director Daniel MacIvor and inordinately talented Canadian cast WILBY WONDERFUL penetrates more dark secrets, exposes more astray lives, and addresses more human frailties than almost all of the competition. This is independent film-making at its finest, with all of the emphasis on quality and little concern for the big budget special effects that mire so many films today.

On the little island, divided between islanders and mainlanders 'visiting', lives an array of lonely people. We are introduced to a 'cause celebre' that happened on the beach (though the facts are hazy) and investigating the scandal are police officers Buddy French (Paul Gross) and his somewhat loose cannon Stan (portrayed by MacIvor himself). Buddy's wife Carol (Sandra Oh) is a very busy real estate person, assisted by her doofus secretary Deena (Kathryn MacLellan), out to sell a home to the town mayor (Maury Chaykin) and family (Susannah Hoffman and Marcella Grimaux), and while Carol is fretting over details, her meandering husband Buddy is secreting an affair with island returnee wannabe café owner Sandra Anderson (Rebecca Jenkins), whose libidinous past negatively influences her young daughter Emily (Ellen Page) in her new physical tryst with young Taylor (Caleb Langille). And while each of these stories unfolds, the town gossip Irene (Mary Ellen MacLean) keeps her evil eye on the soon-to-be-made apparent scandal that video store owner Dan Jarvis (James Allodi), who spends the entire movie attempting variations on suicide, and town painter Duck MacDonald (Callum Keith Rennie) are to be outed as being gay. It is the strange interplay of each of these lonely, needy characters that brings brilliant focus to the tiny bit of reality that is actually heartfelt.

MacIvor and friends pull off this strange little black comedy with ease and aplomb and the film is a charmer in every way - from script to cinematography (Rudolf Blahacek) to musical score (Michael Timmins). This is a splendid little movie that deserves a very wide audience. Grady Harp

WILBY WONDERFUL is an enjoyable and quirky film--the sort Independent film lovers will love and most others will find not particularly compelling. That's because the traditional style of film making is definitely NOT what you see here and the film is extremely hard to characterize. This doesn't bother me, as I see it as a nice "slice of life" film but some may balk because it really isn't a comedy, romance or drama--though it definitely has elements of all three genres.

Wilby Island is a small resort town near Nova Scotia. The film concerns just a few residents and their struggles. While all these characters are seriously flawed, you tend to like most of them as beneath all their crazy baggage, there are shreds of decency. Some of the struggles involve a work-a-holic woman and her forgotten husband, a gay man struggling with self hatred and a trampy single mother whose daughter is struggling with either continuing or breaking the cycle of early pregnancy and desperation.

I think all these story elements work well due to the gentleness of the film. The stories unfold slowly and with a touch of humor--helping to pull the viewer into a story that isn't filled with great excitement or action. As a result, the acting, writing and direction all are given a chance to stand out and be noticed! The only failing, and this may not bother everyone, is the music. The opening song is catchy but the voice is seriously grating. Also, several times during the film, they have little music video montages. A few films have done this in recent years and I suppose it is "hip" but to me it just looks sloppy and distracting. It really disrupted the flow and seemed like filler. Still, this isn't a big problem and the film's many positives greatly outweigh this--making this a film worth seeing if you are looking for some sort of alternative entertainment and not the typical Hollywood fare.