‘Oh, Canada’ Review | Richard Gere Returns with One of His Best Performances

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As a film enthusiast with a penchant for the profound and a soft spot for films that delve into the human condition, I found Paul Schrader’s latest offering, “Oh, Canada”, to be an intriguing and thought-provoking cinematic experience. This film is a testament to the director’s unwavering commitment to exploring the complexities of life, love, and memory, and it serves as yet another feather in his already impressive cap.

In essence, it is frequently asserted that memories define a person’s identity. Accumulated life experiences shape an individual uniquely over time. However, what occurs when these memories start to fade or become indistinct? What happens if our formative moments in life merge together? Could such inconsistencies give rise to a different existence and, consequently, a new version of oneself? If one can no longer accurately recall their own life story and the experiences that molded them, does this mean they remain the same person? These questions lie at the core of Paul Schrader’s latest movie, Oh, Canada, where he reunites with Richard Gere, his co-star from American Gigolo.

In this narrative, the renowned documentarian Leonard Fife, portrayed by Richard Gere, is on a mission to share his life story through a documentary interview with two of his past pupils, Michael Imperioli and Victoria Hill. However, Fife’s health challenges are not ordinary – he is terminally ill and also battling Alzheimer’s, adding layers of complexity to his autobiographical project. The movie follows Fife as he reminisces about his life, with Jacob Elodri playing the younger Leonard, focusing on his journey from the United States to Canada during the Vietnam War and his subsequent rise in the filmmaking industry.

Despite his account being questionable because of his deteriorating memory and inconsistencies between different time periods in Fife’s life, the story is told. Simultaneously, Diana (played by Uma Thurman) listens as her husband shares recollections from his past, some familiar to her and others not. Ultimately, the film relies heavily on Richard Gere’s impressive acting, which helps compensate for the movie’s risky plot twists not always delivering as intended.

‘Oh, Canada’ Reunites Schrader with Gere & Banks

Apart from reuniting Schrader with Richard Gere, “Oh, Canada” also marks Schrader’s second time adapting the works of author Russell Banks, following “Affliction” in 1997. The movie is based on Banks’ 2021 novel “Foregone,” one of his last works before his passing in 2023. Banks and Schrader were close friends, and the themes of “Oh, Canada” seem deeply significant to Schrader, as they pertain to Alzheimer’s, filmmaking, and are intertwined with his personal life and his latest work alike.

In essence, the film “Oh, Canada” shares common themes with Denis Villeneuve’s previous works, particularly those focused on characters grappling with self-destructive paths. Reminiscent of a concluding chapter, this movie might be considered a coda to an unofficial trilogy titled “Man in a Room,” comprising “First Reformed,” “The Card Counter,” and “Master Gardener.” Unlike the previous films that revolved around men seeking redemption, “Oh, Canada” delves into a man’s journey of reconciling his past and questioning whether his recollections of events correspond to their actual occurrences.

Paul Schrader’s Confession of a Fading Memory

Throughout Schrader’s body of work, religion has been a consistent topic, ranging from his script for “The Last Temptation of Christ” to his poignant “First Reformed,” extending to the complex production of “Dominion: The Prequel to the Exorcist.” In this particular piece, the theme under investigation is confession. However, instead of confessing to a religious institution or a divine entity, the focus here shifts to cinema itself and its audience.

In the movie, Schrader uses a documentary style where Leonard talks directly into the camera, much like speaking in a confession booth. As Leonard nears the end of his life, this becomes an opportunity for him to reveal his regrets and past mistakes, not just to God, but primarily to the world at large. This film serves as a testament to his legacy, shaping how he will be remembered or perceived. For Leonard, whether he is judged favorably or not, no longer matters since he won’t be around to witness it.

The uncertainty surrounding Leonard Fife’s memory raises doubts about the authenticity of his legacy. Is he admitting to incidents that didn’t occur? If they did, if his recollections are inaccurate, does it truly represent him as an individual? The decision to include him in the documentary is debatable, at least, and potentially exploitative, at most. Is it ethically sound for his disciples to indulge him and let him participate, providing him a sense of independence, or should they refrain from participating, understanding he might not be fully capable of consenting? Canada doesn’t seem to provide a definitive response, and it could delve deeper into the issue.

A Personal Story That Evokes the Sadness & Frustration of Alzheimer’s

In a creative twist, the film “Oh, Canada” seems to immerse viewers into the perspective of someone with deteriorating memory, perhaps hinting at Alzheimer’s. Director Schrader achieves this largely by placing characters in scenes that wouldn’t typically occur. A striking example is when the character Leonard seems to fantasize about an affair, yet his recollection is jumbled, as he appears confused about the woman, her identity, and the sequence of events. This keeps viewers engaged, encouraging them to scrutinize minute details closely.

While watching “Oh, Canada,” it can sometimes be challenging to understand the sequence of events and how they connect to each other due to its unconventional narrative structure that employs non-linear storytelling, montage sequences, and brief vignettes. These techniques are visually powerful, but at times they might detract from the profound emotional impact of the film.

Yet that frustration is part of the point. Alzheimer’s is a truly awful disease, one that is life-changing for both the affected individual and those around them. A lot of the time, movies about Alzheimer’s tend to center the focus on an individual watching a loved one slowly lose their memory. Oh, Canada puts the audience in Leonard’s mind, showing the frustration and confusion that comes when aspects of memory not only become jumbled up, but the anger that comes with feeling like one’s body is now no longer theirs to control. While Schrader’s directorial decisions might be off-putting to some, they effectively communicate the sadness that comes as one’s mental faculties blur.

Richard Gere Is Perfect in an Admirable but Alienating Effort

In the 1980s and 1990s, Richard Gere was known for being one of the most dependable actors in the industry. After a hiatus lasting nearly seven years, he’s back with films like “Longing” and “Maybe I Do.” The movie “Oh, Canada” showcases why Richard Gere is considered one of the greatest actors ever, with an outstanding performance that ranks among his best. Uma Thurman delivers a captivating, understated portrayal, making the most of her limited screen time. Elordi’s casting in this role is intriguing because he skillfully embodies Leonard Fife’s “idealized” self as a young man. Rather than imitating Richard Gere’s mannerisms, Elordi intelligently chooses not to, making it easier for the audience to appreciate how much Leonard has evolved over the years.

This movie, titled “Oh, Canada,” might not reach the same heights as Schrader’s “Man in a Room” trilogy or standouts like “Affliction” and “Mishima: A Life in Four Chapters.” However, it remains an intriguing piece within his filmography due to its deeply personal nature. Even at 78 years old, Schrader exhibits the pioneering spirit of a young artist eager to establish himself, albeit through a seasoned director’s lens, demonstrating that he continues to be an active force in cinema. Not every creative attempt hits the mark, but the underlying purpose behind them is consistently evident.

Oh, Canada, with its chilly demeanor, occasional aloofness, and brief duration, mirrors some aspects of life. It lacks a straightforward resolution, often ending abruptly, adding to its anticlimactic feel, yet this is intentional and serves to underscore its intended frustrations.

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2024-12-06 23:32