Dave Barber, A Tribute

Dave BThese are sad days at MMC! Dave Barber, filmmaker and beloved programmer of Winnipeg’s Cinematheque, passed away earlier this week at the age of 67. Dave was a champion of Canadian and independent cinema and a tireless advocate for his theatre and the films it featured.

I met Dave at a get-together hosted by a mutual friend eight years ago. Attended by professional, semi-professional, and amateur pop culture nerds, we were invited to share lists of our favourite films and Dave’s list expressed his love of music as well as his love of cinema at its biggest and most minute.

  • The Blues Accordin’ to Lightnin’ Hopkins (Les Blank, 1968)
  • Message to Love: The Isle of Wight Festival (Murray Lerner, 1995)
  • The Thing (John Carpenter, 1982)
  • Vinyl (Alan Zweig, 2000)
  • The Fabulous Baker Boys (Steve Kloves, 1989)
  • Jazz on a Summer’s Day (Bert Stern, 1959)
  • Plan 9 from Outer Space (Ed Wood, 1959)
  • Jackie Brown (Quentin Tarantino, 1997)
  • 2001: A Space Odyssey (Stanley Kubrick, 1968)
  • The Magnificent Seven (John Sturges, 1960)
  • Crime Wave (John Paizs, 1985)

In the years that followed, we would watch movies together when we ran into each other at a screening, we would text about programming ideas and other movie stuff, and we would share festival discoveries. I would give him rides home when he needed them, he would hook my son up with Godzilla stuff, and my wife would restrain her urge to make him a sandwich. When I discovered he was in the hospital, I sent him a message wishing him well and asking him to reach out once he recovered, hoping he would find the message once he was discharged. Sadly that won’t happen, but I’m very grateful for the time I got to spend with Dave and I wish him the best on whatever new project he’s now moved on to.

In celebration of Dave, MMC! offers this brief tribute to the man on screen and there’s no better place to start than Dave’s 2014 short film Will the Real Dave Barber Please Stand Up?, a hilarious account of Dave being awarded a Queen’s Diamond Jubilee medal.

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The Triplets of Belleville (Sylvain Chomet, 2003)

The Criterion Collection, a continuing series of important classic and contemporary films presents The Triplets of Belleville.

French whimsy goes through the looking glass in this imaginatively offbeat animated wonder by animator Sylvain Chomet. A boy named Champion trains relentlessly for the Tour de France with the help of his diminutive and club-footed grandmother, Madame Souza, and their overweight dog, Bruno. When race day arrives, Champion and a few of his fellow racers are kidnapped by a pair of square-shouldered henchmen and taken across the ocean to thronging Belleville where they are forced to pedal as part of an illicit gambling operation. Bruno and Mme Souza follow to save their boy and find unlikely help from the renowned Triplets of Belleville, a trio of eccentric music hall stars turned elderly experimental musicians. Filled with twisted imagery and proceeding with the measured pace of a dream, The Triplets of Belleville is a strange, loving, and very French tribute to silent comedy and to bygone eras of traditional animation.

SPECIAL FEATURES:

  • New 4K digital master, approved by director Sylvain Chomet, with 5.1 surround DTS-HD Master Audio Soundtrack on the Blu-ray
  • New audio commentary with Sylvain Chomet
  • New conversation between Chomet and animator Bill Plympton
  • The Making of The Triplets of Belleville, a 36-minute documentary discussing the film’s production
  • The Cartoon According to Sylvain Chomet, a brief discussion with the director on designing his characters
  • Music Video by -M- for “Les Triplettes de Belleville” featuring animation from the film and a short piece on its making
  • Le temps d’un tournage, an interview with Chomet for French television on his earlier work
  • The Triplets As Seen By…, a selection of impressions on the film by animators Bill Plympton and Michel Ocelot, singer -M-, and comedian and cyclist Antoine de Caunes
  • The Old Lady and the Pigeons, Chomet’s 1997 short film about a starving policeman who dresses up like a pigeon to trick an old woman into feeding him
  • Carmen; Chomet’s music video collaboration with Belgian pop star Stromae
  • Chomet’s 2014 “couch gag” for The Simpsons
  • Trailers
  • New English subtitle translation
  • PLUS: A new essay by film critic Michael Sragow and flipbooks with art by Chomet

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The Old Lady and the Pigeons (Sylvain Chomet, 1997)

Before The Triplets of Belleville (2003) and The Illusionist (2010), Sylvain Chomet made the award-winning The Old Lady and the Pigeons (La Vieille Dame et les pigeons, 1997). The animated short features an impoverished and starving gendarme who dresses up like a giant pigeon in order to be fed by an old woman (and that barely scratches the surface of how hilariously bizarre the short gets). Chomet was inspired to make a film of his own after seeing Nick Park’s Creature Comforts (1989) and set upon his production after pitching the concept to Didier Brunner of the French animation studio Les Armateurs. Backgrounds were designed by Chomet’s comic book collaborator Nicolas de Crécy, although the two would later fall out over Crécy’s view that Chomet improperly copped his style for the designs of The Triplets of Belleville. The Old Lady and the Pigeons is silently comic and strangely surreal and establishes many of Chomet’s characteristic styles and themes, making it an easy access point to Chomet’s limited filmography. It is also a quick 24-minute scratch for those of us still itching to see his next film, The Thousand Miles, a Fellini-inspired story about the world’s most beautiful road race, Italy’s Mille Miglia.

The Vinni-Pukh Trilogy (Fyodor Khitruk, 1969/1971/1972)

Spring is here, Easter is this weekend, MMC!’s next imagined release is taking typically longer than expected, and it’s been some time since a post have gone up, so now seems like the perfect opportunity to offer something cute, furry, and vaguely off-centre. With that in mind, let’s take a moment to appreciate Fyodor Khitruk’s trilogy of short films adapting A. A. Milne’s beloved tales of Winnie-the-Pooh for Soviet audiences!

Khitruk’s trio of Vinni-Pukh films — Winnie-the-Pooh (1969), Winnie-the-Pooh Pays a Visit (1971), and Winnie-the-Pooh and a Busy Day (1972) — were made out of Soyuzmultfilm studios and without the director having seen Disney’s theatrical short Winnie the Pooh and the Honey Tree (Wolfgang Reitherman, 1966). Khitruk’s initial interest in the character came from English editions of Milne’s stories and he was only exposed to Boris Zakhoder’s Russian translations later. Zakhoder served as screenwriter to the Trilogy and he frequently clashed with Khitruk as Zakhoder promoted an approach faithful to the original stories while Khitruk sought to transform the material. The films reflect Khitruk’s vision, doing away with the authority-figure of Christopher Robin and presenting Milne’s characters living forest creatures, not stuffed toys brought to life. Pooh remains rather dim, but he is far more assertive and boisterous than Disney’s bear. The animation is wonderful, merging the primitiveness of children’s drawings with the clean abstraction of mid-century modernism and the earth-toned colour palettes of the ’60s and ’70s. The films adapt three stories from Milne’s original 1926 book, avoiding stories from Milne’s 1928 sequel, The House at Pooh Corner, which introduced the Tigger character. If these adaptations are new to you, congrats! You are now free from the adorable hegemony of the Disney films!

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Bloody Hell (Alister Grierson, 2020)

ONE HELL OF A FAIRY TALE

When a bank heist goes awry, Rex Coen (Ben O’Toole) spends eight years in prison and is hounded by the media on his release. The unwanted attention forces Rex to flee his hometown of Boise, Idaho, in search of anonymity in Finland, but his arrival in Helsinki lands him in a new, fresh hell. Gassed during his taxi ride from the airport, Rex wakes up drugged, beaten, and bound in the basement of a twisted family hiding a dark secret. With only his personified conscience to help him, Rex is in a race against time to save himself and a beautiful young woman (Meg Fraser) from his terrifying captors and a fate worse than death.

An action-horror-comedy that merges Fight Club with Fargo, Alister Grierson’s Bloody Hell is a raucous midnight crowd pleaser ready for fans of Sam Raimi, John Wick, and The Texas Chainsaw Massacre

Special Edition Contents:

  • High Definition Blu-ray (1080p) presentation
  • 5.1 DTS-HD Master Audio and Uncompressed Stereo PCM
  • Optional English subtitles for the deaf and hard of hearing
  • Boi To Hel, new interviews with cast and crew
  • Rex in an Ass-Kicking Contest, an interview with director Alister Grierson and lead actor Ben O’Toole on the film’s special effects
  • Behind-the-scenes footage and outtakes
  • Trailers
  • Reversible sleeve featuring two artwork choices

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Chowboys: An American Folktale (Adam Brooks, Jeremy Gillespie, Matthew Kennedy, Steven Kostanski, and Conor Sweeney, 2018)

Happy Christmas Eve! And what better way for MMC! to extend its season’s greetings than by sharing Chowboys: An American Folktale (2018), the final work of Winnipeg’s irreverent Astron-6. Here, three stupid cowboys struggle to survive in the frigid mountains on the coldest night of the year. Beautiful hands, sheet cakes, St. Nicholas, and cannibalism make for a wacky and gory holiday short set on Christmas Eve. God bless us, everyone (although maybe not Wendigo Santa).

HAPPY HOLIDAYS!