“I liked it because it’s Canadian.”
Apparently this was the wrong thing to say about Paul Gross’s new film Passchendaele, or so I learned from one of my Walrus colleagues the other evening over beer and nachos. “Trust me,” one of them said, Heineken in hand, “there’s no more back-handed compliment than saying you like something because it’s Canadian.” Hmm. I pondered the statement, growing a little red in the face. “Girls say it to me all the time,” he added with a sigh.
Did I play the fool for admitting I liked something simply because it came from the same place I did? Was I judging this film using criteria that disregarded artistic merit, that paid no attention to script, cinematography, or even (gasp) acting? Do we, as Canadians, observe our own creations through maple-leaf coloured glasses?
Take Passchendaele. This is Paul Gross’s baby. He wrote, produced, directed, and starred in it. The protagonist is named after Gross’s grandfather, and the film was shot and set in his home town of Calgary. Gross has been dreaming about the project ever since his Due South days, when he snow-shoed onto the scene, Canadian flag in hand, husky dog on leash, pants billowing in the Chicago wind.
Since then, Gross has embraced the red, white, and red with unexpected and unchecked enthusiasm. His 2002 directorial debut, Men with Brooms, was a comedy about curling. Curling! The guy is really into his home and native land. He’s also emphatic about the role the arts play in the creation of national identity. “We are Margaret Atwood, we’re Bryan Adams, Avril Lavigne, we are David Cronenberg,” Gross told me at over coffee at the Alliance Atlantis offices in Toronto. I’d like to be a fly on the wall at that cocktail party.
With Passchendaele, Gross decided he was ready to turn over a bigger, more traditionally American (yet somehow still maple) leaf — the big budget Hollywood-style war epic. “We’re weirdly silent on the subject,” Gross says. “When you look at the US, there are obviously bags of films about their military adventures. In Britain, France, Germany, there’s tons of them, even our sister colony Australia has a number of films telling about their military legacy.”
And this military movie has everything: sexy ladies, drug addictions, rip-roaringly graphic battle scenes, all loud enough for you to walk out of the theatre saying “SPEAK INTO MY GOOD EAR!” The movie also has the largest budget of any Canadian movie ever, and it’s easy to see where the money went. It’s a good-looking picture. Gross deserves a pat on the back for making $20 million look like five times that amount.
And how did Gross come across such a sum? Simple. “I travelled across the country for years, it seemed, just having dinners with billionaires,” he says.
Apparently quite persuasive with Grey Goose in hand, Gross does have one regret: “I wish to hell I had a secret little digital camera because I could have a great little documentary called My Dinners with Billionaires. Some of them are completely mesmerizing. Some of them are absolute pigs. But they’re all interesting. And I don’t know if they’re interesting because they’re loaded, or they’re interesting because they are actually interesting.”
So we’ve established that billionaires are interesting (though we haven’t quite pinned down why). But is the movie? Well, the script is a little predictable. The love story, a bit cliché. But let’s get one thing straight — Gross was not trying to make Apocalypse Now. Yes, he wanted to show the horrors of war, but uppermost in his mind was giving Canadians a sense of pride in their military history.
Says Gross: “We have a very funny perception of ourselves, which is: ‘We’re peacekeepers.’ Well we are, and we’re extraordinarily good at it, we to some extent invented it, we teach the world how to do it. But, we’re also warriors. And we were the most feared fighting corps in the British order of battle.”
This film is a CGIed reminder of the sacrifice that occurred at the very moment our country first stood on its own two feet. It is a celluloid testament to the heroic sacrifice of those few who gave so much for so many, a cinematic tribute to the many brave men and women who fearlessly —
How about that. Even I can’t help sounding sentimental about Canadian nationalism. It can’t be avoided. Gross does the same when questioned about his motivations for making the film: “I was interested in the intimate casualties of war, and what it does to families and innocence and neighbours, and love, I suppose. The casualties of love. And the only thing that can counterbalance something as implacably brutal as a cataclysm like the first war is all these individual acts of love and self-sacrifice.”
Yes, the movie is a bit heavy on the fromage. But what pilsner-drinking hockey fan wouldn’t fall for the following line, said in passing from one young soldier to another during a lull in battle: “How can you say you don’t like Peterborough? You’ve never even been there.” You won’t hear that in Black Hawk Down.
Illustration of Paul Gross by Sol Sallee.
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