Emile

Emile is an upper-class British man, a university professor who just retired. But also a man who has a past to deal with. Four decades ago he was a young farmer in Saskatchewan, living with his two brothers on the farm he was born. Their parents died young, making them responsible too soon of the family's farm.

The youngest brother wanted to be a writer, Emile wanted to be a scientist. They both didn't really care about the farm, which was unacceptable for their older brother for whom it was their fate. Therefore he became angry and violent, continuously putting them under pressure.

Emile found his way out with a scholarship to study in England, a premeditated way to abandon them and never look back. A country thousands of miles away to start all over, and forget. He only came back once ten years after when his two brother died to rent up the farm, learning he was the only family left of his young niece and left her in an orphanage without even seeing her. He went back alone to England and never came back.

Forty years after he first left, he has to go back for a second time, to receive a degree from a Canadian university. And now that he's an old man, he feels it's his last chance to make peace with his past and his niece...

Emile is a wonderful story about terrible choices we sometimes have to make. About unforgivable wounds you have to find a way to forgive.

During the whole movie there's a terrible tension between Emile and his niece. They both have a terrible need to know each other, and a terrible need to talk about the past, and you see them finding their way through, step by step.

Every moment has its emotion, every actor is brilliant, every line is thoughtful. You just let yourself go in the movie and finish it to think about yourself, about life, about your own choices. About things you've done and may need to be forgiven for. A true movie my friends

Emile is a Canadian independent film which, unlike some of its more recent American counterparts, isn't afraid of exploring bare-boned, delicate territory without either constructing portraits of its characters as total freaks or necessarily feeling the need to deceptively 'mainstreamise' its overall content with generally offbeat material and off-colour, idiosyncratic dialogues. Sure, they touch on some rather delicate topics, ranging from unanticipated pregnancy to various mental illnesses to those fond of sadomasochism, but rarely do we feel as if the characters in projects such as Juno or Secretary actually exist – they are fanciful excursions into realms populated by those we are wary of rather than sympathetic of, and more often than not carry with them excess levels of vanity. In Carl Bessai's 2004 film Emile, we feel as if we could live down the street from them; his film is one of which explores a man and the results that came about after his decision, during young-adulthood, to put himself before others, regardless of the riches that decision had him end up with, before returning to the locale of his young-adulthood years and piecing together the second generation of his family's situation that has been brought about because of this.

The film covers that of the titular Emile, played extraordinarily by British actor Ian McKellen; a performance full of nuance and delicacy, a performance seemingly lost amidst the bigger budgeted, larger distributed Lord of the Rings and X-Men sequels of the same year in which he additionally starred, but a performance fraught with authenticity and affluence as he comes to integrate with varying supporting acts of differing ages; genders and apparent class backgrounds. Indeed, the film will open on the England based, but Canadian born, author of later on in years Emile; the aftermath of a speech at a large function seeing him very much the centre of attention and seemingly at the peak of his proverbial academia-imbued game. The camera decides to track in on Emile, in a wavy and distorted manner, as if cause for concern was required amidst the rapturous applause and success story that is this man: the film's eventual framework alluded to as here, as the bearing in on the surface qualities of a man and into something more troubled, plays out.

Through one means or another, Emile winds up back in Canada again; the receiving of an honorary degree from an institute in his home province of Saskatchewan the catalyst from the outside forcing him back to his roots, allowing apparent issue and such to be buried. It's here the character of Nadia, Emile's niece, enters proceedings; someone brought to life by that of Canadian actress Deborah Kara Unger, whose general facial expression in whatever film she's in always seems to epitomise that of anguish or one that is wrought with the weight of the world. She has certain things on her shoulders here, the woman clearly outspoken and rather vocal – refusing first impressions on that of anyone; her daughter Maria undergoing, what we presume to be from an early exchange with her mother, a rather strict upbringing as she comes to terms with her own life situation of being forced into moving states to get away from an ex-husband.

It is a situation, the escaping of one's family-imbued problems and leaving on negative terms as trouble brews within a family unit, that echoes that of Emile's; his decision to initially leave Canada being what it is, when the establishment of his back-story to do with his two brothers is what it is. Out of these beginnings, it is made obvious that Emile and Nadia's friendly connection might be read into as being born more out of other items than merely that of quaint family ties. Being relocated in Canada for this brief period allows Emile to hark back to the past; specifically, the ability to look back at his time as a young man with his thoughtful and more humane brother Freddy (Runyan) and his bigger, more primitive sibling Carl (Martin), whose aggression and such on the farm that they're based spawns degrees of conflict. Emile's consequent leaving of this aforementioned unit to study in England, usually the land of academia in these instances, leads him to be the man he is now but seemingly at the cost of a close tie with Freddy, whose own promise leads to its own respective conclusion. Bessai weaves the back-story to that of what happened to Emile in with the present strand wonderfully well; the execution, as specific analeptic manipulations play out furthermore within the flashbacks, are handled with such competence and guile, that it is difficult not to become so involved. Indeed, the results are naturalised; involving, brooding and really rather good.

The title character, a retired professor played by Sir Ian McKellen, must come to terms with his past when he returns to Canada for a visit. Emile grew up with two brothers on a farm in Saskatchewan. He left to study in Britain 40 years earlier and never looked back. Until now. Invited to Victoria (British Columbia) to accept an honorary degree from UVic, he stays at the home of his troubled niece, Nadia (Deborah Kara Unger). Recently divorced and living with her rebellious ten year old daughter, Maria (Theo Crane), Nadia still smolders with resentment because Uncle Emile failed to adopt her following the sudden death of her parents. She spent her girlhood in an orphanage and the experience has left a permanent scar on her psyche.

"You seem like a pretty nice guy and I'm going to try to like you. But I don't trust people and you did that to me," she tells him quietly. "Now I'm sure you had your reasons but I just want you to know there was a little girl waiting for you a long time ago. And you left her. Waiting."

That's a haunting image to deal with but Emile also has to confront his feelings of guilt over deserting his two brothers, now deceased, both of whom we meet in flashback scenes: Freddy (Chris William Smith), fragile, artistic, a bit of a dreamer, slowly withering under cruel, insensitive treatment at the hands of older brother, Carl (Tygh Runyan).

Writer/director Carl Bessai (Lola) has McKellen as Emile relive these memories as the old man he is rather than cast an actor to play a younger version of the character in flashback scenes. "I think that's important because the past for him is subjective," Bessai explains on the DVD commentary track. "It is a memory that is infused with who he is right now." Although this may prove confusing for some viewers I thought it was a bold move and well presented visually through artful use of transition shots and doctored cinematography.

The film makes effective use of Victoria locations to add atmosphere, mood and emotional context to key scenes: Emile and Maria chatting on a bench in the Inner Harbour with the Empress Hotel in the background; a blustery walk along Dallas Road; Emile receiving his honorary degree at University of Victoria's Convocation Hall (with 200 extras in attendance.) McKellen turns in a masterful performance, Ms. Unger (Crash) is hypnotically watchable as always and the complex emotional dynamic between their two characters is well worked out. Young Miss Crane, in only her second film, displays a wonderfully natural screen presence. Fans of traditional Hollywood dramas should be warned. As Bessai explains on the DVD, this is not a movie about big dramatic moments, "it's the little things that create the tensions between people, that make them recognizably human." Works for me.

You are well into the second quarter of this film before you can figure out just who is who. The frequent flashbacks, done in a style that would work better on a stage than on the screen, are confusing until you figure out what is happening. Nevertheless it is a warm picture with a good cast and a straightforward plot that generates some very human moments. At least it's a film --- and a reasonably decent one --- that shows Canada as Canada and not disguised as a stand-in for some place in the US. It's obviously done on a low budget with an unknown cast but that does not have a heavy impact on quality. There is some young talent here on both sides of the camera. Not a great film, but not a bad one either.

Ian McKellan does a compelling rendition of an aging man come back to revisit and face his past indiscretions. This is augmented by some wonderful performances by some remarkable Canadian actors. Particularly Tygh Runyan and the young Theo Crane. They give refreshingly honest and real performances.