Director:
Guy Maddin
Starring:
Isabella Rossellini
Mark McKinney
Maria de Medeiros
Ross McMillan
David Fox
Claude Dorge
Release: 30 Apr. 04
IMDb
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The Saddest Music in the World
BY: DAVID PERRY
Rare is the director who can make his masterpiece in a single
given year. Rarer still is one who can do it sandwiched between two other
masterful exercises in his art. The Saddest Music in the World, though not
near the mesmerizing genius of Cowards Bend the Knee, is the third trick
from Guy Maddin over the course of a year, a crowning achievement that will
likely never get the kind of press Steven Soderbergh got for making just two
great films in 2000.
But I doubt Maddin is that hungry for media attention. His films, likely the
most popular short postmodernist works since Maya Deren, are clearly made
for a cineaste audience whose taste lean towards the torrid sexual violence
underlying much of silent film’s style. His genius is unequaled, and, in the
homogeneity of Hollywood, this Canadian would likely never be able to accept
the confines of decent cinema (he’s like a talented version of Mike Figgis).
Based on a screenplay by Kazuo Ishiguro, the film, like Ishiguro’s Booker
Prize winning The Remains of the Day, looks at the establishment of
designations and colonization. Here, it’s Winnipeg, Manitoba, Canada, that
has been named the world’s capital of sorrow. Such a statement must be taken
as absurd, even in 1933 Depression Era Canada, but considering it’s from a
decision by The London Times, a paper that would be unwilling to admit the
bleak state of many of the crown’s colonies, maybe Winnipeg just seemed
politically correct.
Hoping to turn this into a huge advertising ploy for her beer label, the
city’s self-proclaimed queen, Lady Helen Port-Huntly, invites all the
countries of the world to compete for $25,000 in a search for the saddest
music in the world. With each winning round, which has countries go
head-to-head as a rapturous crowd listens and color commentators drop inane
facts about the competitors, the performers slide into a vat of Port-Huntly
beer and prepare for their next match.
A filial-fraternal war, meanwhile, ignites between three frontrunners, as
the Canadian father, a veteran of World War I must compete with his
expatriate sons representing Serbia and America. To make matters worse, the
Serbian, Fyodor (McMillan), is still getting over the death of his son and
the runaway of his wife, who’s now the muse for the naturalized American
sibling Chester Kent (McKinney; the character is named after Jimmy Cagney’s
role in Footlight Parade).
Kent is representative of the American people, few of whom (at least among
those in power) are from historically American backgrounds. That Kent is a
first generation immigrant, at least in the eyes of his jingoistic father,
is enough to make him representative of the entire greedy American
structure. It comes as no surprise, then, that Kent begins to buy out the
talents of past competitors so he can exploit them in his performances,
which are more Broadway spectacle than the true anguish on exhibit from
other countries. As the supremacy of the colony begins its final, dying
breath (1933, of course, is the year Hitler came into power), the economic
colonialism seen by Kent’s actions are meant to show the status of America
in the ongoing battles for dominance in the world. Even if it’s the
strongest, richest, most powerful country in the world, Maddin and Ishiguro
seem to be saying that America will still try to prove its primacy in any
competition. That, in retrospect, could be the saddest fact in the world.
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