Tales from the Gimli Hospital

Guy Maddin is a truly unusual filmmaker.His movies are black comedic and supremely bizarre excursions into silent black-and-white cinema."Tales from the Gimli Hospital" is possibly his most famous and creepiest work to date.This is a wonderfully strange and puzzling movie filled with haunting and disturbing imagery.The action takes place in the small fishing town of Gimli,Manitoba, in some indeterminate time in the early part of the 20th Century.Einar and Gunnar,two men afflicted with the deadly smallpox virus,are housed in the small Gimli Hospital,their bodies covered with the scars of disease,their minds slowly slipping into paranoia and fear.Much of the film is silent,only archaic soundtrack is used regularly.The film is shot in equisite black-and-white and looks terrific.Give it a look,if you enjoy watching surrealist cinema.8 out of 10.

As strange and surreal as this movie is, I just love it. Shockingly enough I seem to be quite fond of this strange, art-house type of movies.

It's a very surreal movie, that is shot in 1920's/1930's style. It means that the entire movie is black & white and even old fashioned looking, with all of its sets, costumes and make-up effects but also its style of acting and the way some scene's are being set up and executed. It's also a throwback to old European surreal and more stylish type of movies, from the '50's and '60's. Movies that were not just style over substance but also ones that had a good effective story in it, no matter how well it got hidden all underneath its surreal images and strange moments.

And yes, this movie as well has a very strange but fascinating story, set at a strange hospital, about patients with a strange disease, in a strange time, in a strange far off place. It's apparently set in Gimli, Canada, which is also know as the capital of New Iceland, despite it being a very small town. It also explains some of the strange Scandinavian names and accents the characters have.

If you just happen to stumble upon this movie somewhere and decide to watch it, without knowing anything about it, you would not believe that this movie got actually released in 1988. It's that good looking in its very old fashioned way. It's amazing the amount of detail they spend on this movie and director and writer Guy Maddin truly managed to capture an unique, old fashioned, grainy type of atmosphere. But it's also thanks to the casting of some old fashioned type of looking persons, that makes the movie and its story work out convincing as an old one.

Clearly, it's a movie that will not appeal to every person and some mind find it just a bit too strange and not fascinating enough. This movie is really a matter of taste, more than anything else but if you're fond of some surreal type of films (like David Lynch movies), European type of old films (lets say Ingmar Bergman type of movies), or some of the movies from the 1920's and 1930's, this movie is really worth a watch and changes are you might end up really liking it.

8/10

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Fans of David Lynch and early Luis Buñuel will find plenty to admire (or scratch their head at) in this esoteric, shoestring budget mock Icelandic folk tale, set in a bleak sub-arctic village where victims of a mysterious plague are treated by having their sores caressed with dead seagulls. Winnipeg director Guy Maddin borrows extensively from the primitive vocabulary of the early sound era (with grainy photography, a scratchy music score, and crude post-dubbed dialogue) to create a nonsensical 70-minute punchline with no joke attached. The antique style of the production would have to be considered its own reward, especially since the story itself (involving incest, hints of necrophilia, and a mysterious butt-grabbing duel to the death) leads nowhere in particular. The awkward emoting by Nordic characters named Gunnar, Snjofridur, and Einar the lonely; the Louise Brooks look-alike nurses; and the cameo appearance of a black-faced vaudeville minstrel are all reminiscent of some nightmarish, early 1930s melodrama, but Maddin's aesthetic is aimed squarely at today's midnight cult audiences.

I can't think of a better introduction to eccentric Canadian auteur Guy Maddin than "Tales from the Gimli Hospital". Maddin's feature debut is as ingeniously bizarre and surreal as many of his later followings and despite being a bit rough around the edges it is more than deserving of its devoted cult following which regard it as one of the best films of the 80's. I can't agree with that particular statement but it is unquestionably one of the most unique and interesting films of the decade, and certainly among the more memorable Canadian films to emerge during the time period.

While two children are witnessing their mother's slow death in a modern-day hospital in Gimli, Manitoba, they are told a story by their grandmother set in Gimli many years before. The story is a fascinating and complex one, echoing a parable at times and at others simply bizarre. Often compared to David Lynch's "Eraserhead", "Tales from the Gimli Hospital" is a far more straightforward film, actually, and one with a narrative that requires interpretation but can be followed quite easily. It is an interesting parallel to Lynch's debut, however.

As noted previously the film is rough around the edges in terms of budget and other constraints and Maddin isn't as comfortable and confident a director as he would later become, but the film works wonderfully as a whole and comes highly recommended.

8/10

In the modern town of Gimli, two young children watch their mother dying in hospital. To distract them they are told a story of old Gimli by their grandmother. In the story it is Gimli years ago when live was disrupted by an outbreak of smallpox. With poor medical facilities available to him, Einar finds himself in a nightmarish half-waking state of "care" with other sufferers, including his friend Gunnar, who are somewhere between life and death. The two friends grow close but shared secrets threaten to tear them apart as the world around them changes quickly.

As someone who actually likes Guy Maddin I still have to be honest and say that, while my favourite films of his have narratives I like, usually his work is not where you want to come for stories that grip you and make a lot of sense. And so it is with his first feature film, a story that is being told to two children who, for some reason, are in the room where their mother is dying; it sounds strange and indeed it is. The narrative is interesting enough but if that's all there was here of value then you'd have given up quite quickly; happily there is enough of interest going on to engage the audience despite the narrative being rather incoherent at times. This is not to say that it will appeal to all viewers because of course it will not, but for those that "get" his other films, the story will not be a problem.

The reason for this is that his unique style is fully on display here (albeit with a lower budget) and this makes it interesting if not totally engrossing. At times the style overwhelmed the lesser substance to such an extent that it did feel rather hollow but this was a rare feeling for me. Normally I have that problem with his shorts but, with a low running time, it usually doesn't matter so much. With his features it can be a problem but he mastered it with the wonderful Cowards Bend At The Knee and he does enough to cover it here. It did feel a bit sparse at times although that is probably more to do with me being used to his bigger budget films (bigger being a comparative term) rather than the film being weak visually. The cast don't really give much in the way of performances so much as be carried along with the direction but this isn't that much of a problem since the film was never about them.

Overall this film is an acquired taste that will not appeal to those who dislike other Maddin films. Compared to his later films, this feels a lot less flashy and sparse but it still works and will please fans of Maddin. Narrative-wise it has some problems that viewers may find difficult to get past but the many strange and imaginative touches to the overall delivery of the film more than cover for these issues and, while not an equal to some of his recent work, this is still worth a watch.