INTO THE PAST: THE CINEMA OF GUY MADDIN By William Beard Toronto: University of Toronto Press, 2010, 504 ppReviewed by Jovana JankovicGiven the collegial and affectionate tone with which the volume begins, it is clear that William Beard's personal engagement with Guy Maddin, the films and the man, stems from deep sympathy and admiration for his object of study. Perhaps remarkably, then, Beard's book Into the Past: The Cinema of Gay Maddin also unfolds as soberly-researched and rigorous source of information on everything from the minutae of Maddin 's production strategies to the dominant themes found in his films. It is rare critic who can be so objective while retaining open display of affection for filmmaker.Beard's book focuses almost exclusively on Maddin's feature-length films, and each of the ten chapters concentrates on one particular film, although appendix considers some aspects of the short films which align well with the dominant themes of the analysis. The method is hardly fresh one, and yet the chronological order in which Beard traces Maddin's productions allows for the emergence of subtle yet important evolution in the filmmaker's work: while early features such as Tales From the Gimli Hospital (1989) and Careful (1992) allow their rabid enthusiasm for older forms (silent cinema, German Expressionism, deliberately degraded aesthetics, absurdism, surrealism, melodrama) to cloud any unifying purpose within the films' narratives, unabashedly more direct expression of Maddin's Weltanschauung emerges in later features such as My Winnipeg (2007). Beard is astute to point out, however, that these more overt expressions in the later films hardly come with less absurd forms and visual signatures. Indeed, if anything, Maddin's cinema as retold by Beard grows more absurd as it abo becomes more honest. My Winnipeg, for example, deals more directly with the filmmaker's provenance and genealogy (as opposed to, say, Archangel [1991], which is set in the WWI-era Russian Arctic, locale and period strangely arbitrary and otherworldly), but it lacks none of the stylistic flourishes and narrative embellishments that have marked Maddin's work throughout his career. Certainly, the weighty contributions of frequent Maddin collaborators George Toles, deco dawson, and Jon Gurdebeke, among many others, cannot be understated in the filmmaker's evolution, and Beard gives these influential artists their due. For example, it was dawson 's editing style on The Heart of the World (2000) that changed the pacing and feel of Maddin's films from that point on, and one wonders where Maddin would be without the varied and frequently obscure literary influences that underscore Toles' scriptwriting.Beard begins by highlighting the difficult-to-disprove assertion that Maddin's work is decidedly unlike that of any other filmmaker, which could be said of many artists, and yet, somehow, Maddin seems to be the most of them all. It is worth noting that such vastly different filmmaker has built his oeuvre entirely on the highly original recycling of histories (cinematic, social, and personal), and Beard takes this seeming contradiction as his central theme throughout the book. Namely, he asserts that Maddin's films both point out the uselessness of older forms which preyed on the idyllic innocence of their spectators, and also attempt recuperation of the kind of genuine feeling once evinced by these forms. While his films are a fantasy on themes from the historical past accompanied by an awareness of the serious ethical limitations of the past, they also point to the unreachableness of what is desirable in this world... solidarity, social wholeness, personal security deriving from solid sense of the individual's place in the group, absence of the chaotic freedom to want and go after everything and anything- in short, life without fundamental alienation. In Maddin's films, the desire for the impossible kind of cohesion we recognize from psychoanalysis may be unattainable, and yet his films encourage that we, at the very least, consider its possibility (if only to have it dashed away). …
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