
Films by Guy Maddin typically stem from an individual’s interests in projects, such as “Brand Upon the Brain!” or “My Winnipeg”, and I am sure that this was the primary driving force of Maddin’s creativity. As Roger himself puts it, “If you love movies in the very sinews of your imagination, you should experience the work of Guy Maddin.” So naturally, I approached “Rumours”, which premiered at Cannes last year, with expectations of expansion fostered by Maddin’s knowledge of earlier, pioneering examples.
As far as Maddin’s universality is concerned, there is almost always a polyphony of contemporaneous narratives in his film styles. Roger told you to “experience” this and he probably meant the visually inspired audience into which they don’t concept such works as ‘minor’ in the overall chronology of his films. It’s still wickedly dry-witted in equal measure, with a terrific cast who clearly appreciate this sharp slice of a political commentary set in the global world. To be fair, do not expect an all-out storm of them it is not the kind of a film focused on a huge concept rape that it wishes to delve into. Rather than aiming for a laugh, or more than one for that matter the film is full of clever jokes and that’ll do for most, although I was curious whether the younger Maddin might have found more fuel for creative drama and intensity.
In this tightly wound yarn of the world’s most powerful seven leaders towards the end of the world, Evan Johnson, the writer, receives joint co-directions along with Maddin and Galen Johnson. The seven world nations at the G7 summit retreat to a secluded gazebo in the woods with the objective of reaching an agreement over the international disaster, only to be met by disappointment when they arrive at their supposed chateau and it is in ruin. And that’s just the first of the anomalies. From somewhere there are these decaying old men who look like they dragged themselves out of an ancient crypt and for some reason, a very large head encased in brain matter resting in the forest. Which is something that I rather feel that I should not be able to comprehend. Well, actually it ought to. The hit more or less consists of hurling inept leaders into a real catastrophe and seeing how it unmasks their weaknesses and overall superficial approach to the world.
Maddin’s cast, which includes the German Chancellor Hilda Orlmann, and the fascinating actress Cate Blanchette, excels. Hilda is one of the bunch’s most charming members, and after hearing the right soundbite for the press she ascends to the forefront when the evening becomes dangerous. Strangely when one considers it Prime Minister Maxime Laplace who has never swayed from his loyalty to Maddin and his homeland, is the actual leader. Maxime’s somber glance is focused on a crisis he has at home that would probably force him to resign.
Roy Dupuis is an iconic artist who is dangerously attractive. The majority of the G7 cast members are entertaining, all the way from the Italian Antonio Lamorle (Rolando Ravello), who produces an endless supply of salami and pancetta from whatever coat pocket he has to the world-worn American President interpreted by Charles Dance, who, even though he is one of the most English men ever manages the role. While Nikki Amuka-Bird as the British delegate and Takehiro Hira as the Japanese delegate are more respectable. While I am unable to explain or spoil the part, Alicia Vikander is there for a prolonged cameo.
“Rumours” occasionally seem like a mashup of Armando Iannucci and David Lynch against the backdrop of government failure and a surreal landscape. The sequel, in large part, can be sufficiently fascinating with just that fusion. There are certain moments where it feels like Maddin and the rest are restrained from an optimal interpretation of the film that could have taken itself more seriously and done a better job at ripping into the flesh of people who clearly are not cut out for the job of leadership.
“Rumours” is finally about how these power brokers become fixated on meaningless trinkets while the world crumbles around them. Their focus is more on the media releases than on bringing about any transformation. This is quite clear in the daily situation in the world in which thoughts and prayers replace actions. Maddin and his collaborators for their part have represented this global problem as stupidity that deserves to be ridiculed and they ridicule it effectively. A filmmaker that Roger was a big fan of did not disappoint and has once again taken his creative vision to the large screen in what will be one of his most commercially visible cycles. I hope “Rumours” will eventually become that many more of Maisonneuve’s terrific works will make new fans because of its brain-wrecking context. At any rate, Roger’s quote remains valid: There are few filmmakers who seem to adore movies as much as Guy Madin.
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