Director:
Guy Maddin
Starring:
Darcy Fehr
Melissa Dionisio
Amy Stewart
Tara Birtwhistle
Louis Negin
Mike Bell
David Stuart Evans
Henry Mogatas
Release: N/A
IMDb
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Cowards Bend the Knee
BY: DAVID L. BLAYLOCK
Sandwiched in between his successful hired gun project,
Dracula: Pages from a Virgin’s Diary, and his upcoming Kazuo Ishiguro
project, The Saddest Music in the World, Guy Maddin’s Cowards Bend the Knee
is the first feature from the amazingly talented and prolific postmodernist
that strikes the same cord as The Heart of the World, his 6-minute opus to
love and Kino. Cowards Bend the Knee, built around ten segments of
approximately 6 minutes each, is like sitting through many performances of
The Heart of the World spliced together. For anyone like me who has bought
tickets to screenings of festival films just to watch Heart play at the
beginning, this film could be one of the most satisfying achievements from Maddin.
Like Dracula, Cowards Bend the Knee was created in its current incarnation
by the interests of others who hired Maddin to fill a particular position.
In this case, it was the spot in an art exhibit, in which he could do some
Janet Cardiff-style film showcase. Considering his own history of creating
peepholes into the worlds of those he’s close to (a possible reason for his
extensive use of irises in nearly all his films), the exhibition of his 10
parts would be built around looking through 10 tiny peepholes where the film
would be projected.
Keeping this in mind, the sexual rawness of Cowards Bend the Knee seems
obvious. If the spectators are meant to be looking through a device forever
connected to horny teenagers and lonely motel owners, the images seen should
be lurid and off-putting for the everyday person. Indeed, the imagery found
in Maddin’s film are quite surprising at times, especially framed around
Maddin’s requisite faux silent-era filmmaking style. This is a film in which
the protagonist, named Guy Maddin (Fehr), is caught poking the anus of his
showering teammate who’s dropped the soap. It’s an absurd visual, but one
that is predicated on the ideas behind Maddin’s entire film, which deals
with cowardly masculinity and the sexual urges of man turning into
irrational actions.
Set in a reality literally under a microscope (Maddin establishes that all
the events unfold in a single sperm), the director deals with his own
background, often in increasingly disturbing ways. The salon run by his
mother and aunt has now become a makeshift abortion clinic with two-way
mirrors so patients can watch a woman get a perm during the operation. The
hockey team his father once did color commentary for is now a madcap troupe of
failures, all attempting to coalesce their own lacking masculinity in a
sport built around male dominance over other men. The
proxies for his parents aren’t treated any better: his mother (playing
herself) sits in a room as her granddaughter seduces Guy, forced to listen
(which we cannot do -- the film is silent) but not see their coitus, and his
father attempts to steal Guy’s girlfriend.
Cowards Bend the Knee has a story -- which involves incest and murder,
femmes fatales and severed hands -- bringing all these elements together,
but completely describing them would undervalue their absurd richness. Maddin’s film, likely his most personal to date, is unquestionably his best
feature. His style, as always, is amazingly realizing, but this time he’s
saying volumes about himself and his gender through his sensationalist’s
lens. This ode to a voyeur may not be the most accessible film of the year,
but it could be the best.
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