Red (Canada, 1970) 101 min color DIR-SCR: Gilles Carle. PROD: Pierre Lamy. MUSIC: Pierre F. Brault. DOP: Bernard Chentrier. CAST: Daniel Pilon, Genevieve Robert, Gratien Gelinas.
Canadian cinema (circa 1968-73) could be a cousin to the French New Wave, British “Kitchen Sink films”, or even American independent works of the 1960s (specifically Shadows). Our films from this period share much with those influential movements, in experimentation of film form, “on-the-street” docudrama approach, and a proper dose of playfulness. Each of these movements were defined by a cultural icon: the French had Belmondo in Breathless, the British had John Osborne, and America had Ben Carruthers. If we were to consider our cultural icon from this period, a common (yet not incorrect) answer would be Joey and Pete from Goin’ Down the Road. However, now, I’m not so sure. Perhaps our true answer to this equation would be Daniel Pilon’s titular character in Red.
Further, Red is perhaps the ancestor of both things that Canadian cinema would become: self-conscious art-film and Canuxploitation. It is torn between two disciplines much like the central character. Red is a hustler who ekes out a living in urban life in Quebec, but revisits his native heritage. When his sister is killed, and he is blamed for the murder, he spends time in the wilderness with his people while he bides time to decide his fate. Whether driving in his fast car through the skeletal freeway system or placidly boating through a lake, Red is equally at home, yet both of these worlds collide.
The first hour of this film is dizzying, as there are more story threads than in most commercial movies. We see Red blurring between scenes with his mother, his siblings who work at a construction site, and various chippies along the way, until the movie converges to a singular plot line about his escape from authority and ultimate revenge. But Red continues to surprise us. It allows the viewer to study and understand his complex relationships without having to over-explain them. Plus, the movie’s consistent shifts in tone, and some genuinely bizarre moments (like a bachelor party that initially resembles a wake), always veer this revenge melodrama from its conventional path.
Red is a marvel of Canadian cinema that assuredly will reward with multiple viewings. The art house crowd would appreciate its complex and unconventional narrative, but there is still lots of sex and violence for the drive-in. Like its central character, it has the best of both worlds.