The Republic of Love

THE REPUBLIC OF LOVE is yet another fine film from Canada based on Canadian Pulitzer Prize Winner (for 'The Stone Diaries') Carol Shields' novel by the same name, and written for the screen and directed by the gifted Deepa Mehta ('Earth', 'Fire', 'Water', etc). It is a satisfying story about the human boundaries set by/for love and how those 'republics' touch and clash and interact.

Tom Avery (the very gifted actor Bruce Greenwood) was an illegitimate child, raised by a homemaker class as a teaching lesson in how young brides to be should learn the skills of tending house, who has grown up, married three times out of a need for belonging and for being loved, and is currently unattached, making his living as a night talk show host helping the lonely hearts. Into his life steps the beautiful museum curator, currently immersed in a Mermaid exhibition, by the name of Fay (Emilia Fox) who remains single because of her exceptionally high demands for a partner. The two meet, fall immediately in love much to their individual surprise, and proceed to court and encounter other couples (especially their parents) who seem to hold the winning medals for perfect marriage.

Fay's parents (James Fox is Richard, the father) have just celebrated their anniversary when Richard abruptly decides to leave his wife. Fay runs to her mother's rescue, leaving Tom alone and the apparent brunt of Fay's disillusion of marriage. The changes that occur cause Tom to reflect on his history of marrying too often in unions that have not met with success. How Fay and Tom ultimately resolve the abutments of their personal republics is the part of the story that carries the film.

The entire cast includes some of Canada's finest actors and the film is solidly directed by Mehta. There are aspects that disrupt the flow of the story, the main one being the incessant and very loud East Indian music that seems wholly out of place and is at best distracting (the score was written by Talvin Singh). Mehta also elects to throw in some bizarre cutesy animation at the end that for this viewer cheapens the story. But flaws aside, this is a fine film graced by the presence of Bruce Greenwood and Emilia Fox. Recommended entry from Film Movement. Grady Harp

Words cannot describe the distance between the novel and the piece of work on the screen. Yes, I know, "novels suffer in transition to the screen." But they should not suffer this badly. Carol shields deserves better treatment and not from a "Bollywood" director who claims to be Canadian by paperwork.

This is such a beautiful film about love in all its complications. Wasn't sure where it was heading at times, but glad I stayed the course. An interesting cast - especially Greenwood and Emilia Fox - with a good mix of known and unknown actors. Each character is richly different and strangely, weirdly odd. The complexity of relationships - ahh. The diverse relationships portrayed made me want to know more back story, however, what is presented is just enough. Everyone seemed just like folks you might know. I also like the cinematography - the camera felt right for whatever was present at the moment. And the music is sublime. This film makes me appreciate Canadian movies - can see why it was a Toronto Film Festival selection.

If the characters had been able to get over themselves, the viewer would have been able to breathe easier. The long looks – forget your lines? The oh-so-serious weighing of feelings, especially, in Fay – grow up, kid. I think it's called analysis paralysis. Her brother had her number. Where does all that probative introspection get her? It's good she rallied around her mother when needed, but was it really necessary to spin into withdrawal? Lash out at Tom when he calls? She's a baby. Someone really should have taken Tom's temperature. I think he was sick or was he just sleep walking? Just kind of drifts into things, including marriage. Use the brain. Get a pulse. Now, put the two together. The kinky Indian music was too strange. Maybe the mermaid idea was considered an artsy touch as well. These are supposed to be fairly adult people who hold down real jobs. Their courtship and relating revolve mainly around the initial newness of meeting and cohabiting. Pretty flimsy deal they got going here. Not surprising that it doesn't weather the first ill wind that blows its way. I guess their parents failed them along the way, but what else is new? You are supposed to acquire some life skills beyond that on your own. You're grown up now (40ish, in his case), so why can't you handle anything? Where's the strength for someone else? Consumed on little me, actually. Good luck on the marriage ("I'm so happy!"). Unfortunately, it takes a lot more than that. Oh, please finally get with it, or just go back home and settle into sucking your thumb in earnest.

This is a downer about two losers likely to remain that way.

Tom Avery (Bruce Greenwood) is a late night radio DJ in Toronto and has already three divorces. Fay McLeod (Emilia Fox) is writing a mermaid book and living in a loveless relationship.

Director Deepa Mehta is definitely trying to do something with the washed out color cinematography. She's obviously denoting the lack of love in the two leads' lives. It's heavy handed. Quite frankly, I rather have it black and white. Black and white can be beautiful in its sadness. Washed out cinematography makes the film look bad and tired. The cinematography is still weak after more color is added. The movie never really recovers from the early tired washed out look. I do like the pairing of Greenwood and Fox. They are both charismatic actors. The cactus is cute and that's a solid meet-cute non-meeting. This movie is full of interesting ideas but they don't add up to what it wants to be.