Wilby Wonderful

This web-of-life drama with a dark comedic edge takes place in a small town on the fictional island of Wilby, somewhere off the coast of Nova Scotia. Here we get to know quite a few people, beginning with Dan Jarvis (James Allodi), a video store owner whose wife has just left him. His exquisite despair, agitation and dead serious suicidal impulses are occasioned not only by this loss but, more fundamentally, by the fact that he is being exposed, against his wishes, as a gay man, not a social status often sought in this tight little conservative village.

Jarvis's forced "outing" is part of a more sweeping attack on regular gatherings of homosexuals and drug users at a waterfront park. Turns out that developers are behind the exposes. They're almost drooling in anticipation of establishing a destination golf club with surrounding upscale houses on the now public park land, once they succeed in convincing the townsfolk that the only sure way to keep unsavory characters from corrupting their young people and way of life is to get rid of that park, i.e., by selling it to them, and for a song at that.

We also meet Buddy French (Paul Gross), a straight arrow local cop, and his tightly wound wife Carol (Sandra Oh), who has gotten herself into a chronic dither chasing brass rings in the world of real estate sales. Then there is Sandy Anderson (Rebecca Jenkins), the faded sex queen and mother of teenage daughter Emily (Ellen Page), whom Sandy worries will follow in her own pathetic footsteps.

Rounding out the group of major players in this drama are Wilby's Mayor, Brent Fisher (Maury Chaykin), whose porcine joviality seems overdone, perhaps to cover less seemly activities, and the pivotal character Duck MacDonald (Callum Keith Rennie), an Everyman clad perpetually in overalls, whose gentle manner and near omnipresence suggest that he's a sort of guardian angel placed among these humans to bail them out of trouble. In smaller roles, there's also Irene (Mary Ellen MacLean), a first rate gossip, and Buddy's police partner, Stan (played by the film's writer-director, Daniel McIvor), whose conduct is sometimes nefarious.

I take the trouble to mention all of these people because the film is really more a series of character sketches than a narrative, and because the acting is, with perhaps one exception, uniformly fine. For some viewers, the exception may be Sandra Oh's over-the-top frenzied behavior during much of the film, though certainly there are ambitious control freaks out there in the real world who carry on like she does. (Incidentally, the beauty of Ms. Oh's face is captured stunningly here by DP Rudolf Blahacek, especially in profile in a scene shot while she is driving.)

Some viewers might also wonder whether James Allodi's compulsive suicidal behavior as the deeply suffering Dan Jarvis is also over the top. He keeps making good faith efforts to end his life that are thwarted, sometimes in ways that make you laugh even when your intentions are otherwise. In this darkly funny depiction, MacIvor seems to have borrowed from the drollery of Bud Cort's habitual suicidal poses in "Harold and Maude."

We viewers can also easily see the pain in Jarvis's face and wonder how so many of the town citizens can fail to notice or respond to him. Fact is that in real life this is common. Often people are either too self absorbed or otherwise preoccupied to see pain in others. Or if they do, they gloss over it because they are too busy or are reluctant to intrude, to mind another person's business.

The film offers a wonderful quote from Mark Twain, delivered by Buddy French to Mayor Fisher: "Golf: A good walk ruined." "Wilby" was produced not by Canada's National Film Board, the source of so many wonderful movies from that country, but jointly by the provincial film boards of Nova Scotia and Ontario. The location for the film is actually not an island at all, but rather the town of Shelburne, pop. 2,000, on the southwest coast of the Nova Scotian mainland.) "Wilby" is unlikely to get wide U. S. distribution, and that is unfortunate, because it's a little gem of a movie. My rating: 8/10 (B+). (Seen on 11/28/05). If you'd like to read more of my reviews, send me a message for directions to my websites.

Maybe it is just that I am a Californian and not a Canadian, but as an outsider, I have often loved Canadian Film. This is a prime example of what many Canadians seem to do that most US directors do not: take time to tell a story, not be afraid to show the dark side of characters, and trust actors to so what they do best.

I saw this film at OUTFEST, and was moved by a gay film that puts homosexuality in context: all the main characters of this film seek love and validation. All do it in different ways. All feel that they have been untrue to themselves, somehow, in this search for love. All seem to feel somehow thwarted by their past (or maybe, in the case of Sandra Oh's character, the most recent past), as well, in this hunt. The struggle of gay people to receive respect AND the love they deserve has been placed squarely into a larger context (we all have this same struggle for identity and validation); and I love this aspect of the film.

The film revolves around a few main characters: the man who comically tries to kill himself over and over, only to be interrupted at the most (in)opportune times; the painter who stalks him throughout the film, but who may also be his only chance at love; the real estate agent and her cop husband whose ideals have somehow drifted apart; and a hometown girl who has recently returned to town with her adolescent (and sexually coveted daughter, perhaps returning because of her sexual antics everywhere else they have lived. While each of these characters is certainly a "type," and has their moment of stereotypical comic relief, I was impressed at how director Daniel MacIvor showed the roots in reality for each stereotype, and allowed each Jungian type to have depth and a moment that ran against expectation.

The cast, as well, was fabulous. Sandra Oh is amazing at playing a together woman with another side. Rebecca Jenkins showed real sorrow beneath smuttiness. Even the actors playing the gay characters had moments of real transcendence, even though the suffering man in the closet and the lonely man chasing him theme has been played out before.

People walked out of this screening, so the film is obviously not for everyone. For me, however, it was a true tribute to the underlying humanity that brings messed up people together for the highest good.

The best thing this has going for it is the mood. The quiet evocation of a small island/town is pretty much dead on, with the slightly shabby businesses, people with small-scale ambitions, and hidden strings connecting everyone and everything. There are also some excellent performances, especially Sandra Oh, Rebecca Jenkins, and Callum Keith Rennie (for once showing his awkward, charming side rather than playing another psychopath).

There's both too much and too little going on, if that's possible. The various plot threads wander around before finally getting to what turns out to be the main plot. By that time, there have been a few too many scenes of people walking around while the soundtrack music plays. Some of the characters take too long to register, as well. The one who might be the most important, Dan Jarvis (the suicidal, soon-to-be-outed video store owner), never really registers at all--he never amounts to much of anything besides vague melancholy.

I don't blame the actors, really.....the ones we don't know well enough simply haven't had enough dialogue to let us know them. Fewer subplots and a little less wistful scenery montage would have helped the through-line considerably.

Put most simply, this has too much atmosphere to be a Plot Film and too much plot to be an Atmosphere Film. Not that it would ever have a chance to happen, but I think Wilby would have worked much better as a series.

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 an enjoyable movie. Saw it at the Stony Brook Film Festival and was disappointed to hear it has gone straight to video. With so much crap out there, there is surely a place for a movie like this. Unfortunately, there are no special effects, or in your face sex and violence. The story makes sense, the loose ends are tied up and the characters are real. In fact, one of the few known faces, to me, was Sandra Oh and she was nearly a distraction, because she is so familiar. Everyone else seemed more real. This movie was made by the same guy who made "Marion Bridge" another Canadian movie set in Cape Breton and starring, if that's the right word, the delightful Molly Parker. Bravo John McIvor and everyone involved in this thoroughly entertaining movie. You'd have been pleased at the ovation at the end of the screening.