‘Oh, Canada’ Is Last Thing We Expect from Paul Schrader

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Paul Schrader‘s “Oh, Canada” offers a gloomy, odd, and somewhat captivating narrative that marks an unusual stumble for the accomplished filmmaker in his body of work.

Although Schrader’s films sometimes vary in quality, he’s been particularly successful lately with the acclaimed “First Reformed” and unexpectedly impactful “The Card Dealer.

Working with Schrader often means bracing for an unexpected, chilling plot turn that sends characters spiraling into mystery. Despite this, the films he creates – both his masterpieces and those less successful – are captivating, filled with unique and thought-provoking aspects as a renowned filmmaker.

At this point in his life, well into his seventies, Schrader continues to produce films that stir controversy and captivating debates. It’s hard for me to dismiss him completely, even when he creates a work like “Oh, Canada.

In this production, Richard Gere takes on the role of Leo Fife, a revered filmmaker who has reached his golden years and consents to an in-depth interview for a film about his life. Michael Imperioli assumes the position of the documentary’s director, while Uma Thurman shares the screen with him as Fife’s wife, offering her support by his side during the interview process.

In the movie, a significant portion of the screen time is dedicated to flashbacks, with Jacob Elordi effectively embodying Gere’s character during his youthful years. We learn that in his past, Fife was actually a draft evader who built an entirely new existence for himself abroad.

That’s about it for the plot.

A short sequence showcases the films produced by Fife, while the narrative ventures into the hazy depths reflecting Fife’s troubled mind. However, Schrader’s work has always been challenging and provocative, yet it lacks the intensity seen in his other productions.

As a film enthusiast, I found it fascinating that the filmmakers opted for an intriguing narrative device: having both Elordi and Gere portray the same character at different stages of his life. What made this even more captivating was the way flashbacks were handled. Instead of a smooth transition, they would often start with a scene featuring Elordi, only to unexpectedly switch to Gere continuing the narrative, and vice versa. This unique approach added an extra layer of depth to the character development.

As a film enthusiast, I find myself captivated by the way Thurman occasionally portrays her younger self opposite Elordi’s portrayal of Fife’s younger self. Schrader chose to employ this technique for two compelling reasons: it symbolizes how we perceive the past, regardless of our current age, and it invites us to delve into our fading recollections, becoming one with them.

Additionally, this approach ensures that Gere remains part of the film, since without it, he would be restricted to scenes where he’s depicted as wheelchair-bound, frail, and struggling to remember his past. Regardless, the scenes showing Gere in bed with a younger actress portraying his younger wife, or Thurman engaging in an intimate moment with Elordi, are undeniably strange.

This movie is reminiscent of Todd Solondz’ unusual, avant-garde film “Palindromes” (2004), where the primary character was portrayed by various actors. The intention is to be thought-provoking and reflect the timeless nature of our memories, but it falls short creatively. However, it’s also the one truly bold aspect of the movie.

In simpler terms, George’s portrayal as a skilled actor depicting a reflective artist nearing the end of his life is commendable. However, the narrative occasionally shifts between him and Elordi, which gives an impression of disjointedness and lack of sustained engagement.

Elordi consistently delivers a captivating performance in “Oh, Canada,” which is artfully filmed. The film’s stock footage effectively portrays the transition of eras and realities, while the sets and period details are vividly depicted. However, I found myself anticipating a surprising or shocking moment from Schrader that never materialized.

Actually, not much happens in “Oh, Canada.”

Among Schrader’s most compelling films, which are not to be missed, are “Blue Collar” from 1978, “Mishima: A Life in Four Chapters” from 1985, “The Comfort of Strangers” from 1990, and “Adam Resurrected” from 2008. Besides his renowned screenwriting for Martin Scorsese, Schrader consistently creates unique pieces that delve into themes of faith, self-discovery, and the human mind.

In simpler terms, his movies explore themes like loss, fate, and broken identities. I was eager to watch Gere and Thurman together again since it’s been a while since “Final Analysis” in 1992, but their performances didn’t add much to a Schrader film that I found less engaging compared to his other works.

Two Stars

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2025-01-12 03:03