THE BARBARIAN INVASIONS
Canada, 2003, 99 minutes, Colour.
Remy Girard, Stephane Rousseau, Marie- Josee Croze, Marina Hands, Dorothee Berriman, Johanne Marie Tremblay, Pierre Corzi, Yves Jacques, Louise Portland, Dominique Michelle.
Directed by Denys Arcand.
In 1987, Denys Arcand's The Decline of the American Empire was a witty and intellectual treat, a group of Canadians in middle age, assessing their lives and careers, discussing, sometimes profoundly, sometimes fatuously, their interpretation of the world, especially the American-dominated western world. But, the film was not so strong on its dramatic narrative. Then came Jesus of Montreal, 1989, a surprising, complex film that satisfied as drama, as display of characters, as intellectual discussion and as visually arresting. Arcand's films of the 90s were less satisfying. The Barbarian Invasions gathers all Arcand's talents and offers a sequel to The Decline to enjoy and relish.
Arcand and his characters are older and, very often, wiser. Remy Giraud as the dying Remy is the larger than life (which he is soon to leave) focus of the film, a blustering, often raging character who has alienated wife and children but still commands the devotion of friends (the main gallery from Decline whom it is fascinating to listen to 15 years on, joys, regrets and all). When his son - a new barbarian who plays computer games and has never read a book yet is a millionaire financial adviser - is able to relocate his father in a reconditioned hospital room, the older man begins to change as does his son. But, for Arcand, there is no quick sentimentality. The friends still discuss the world and assess their lives. The next generation - who are more preoccupied by money, drugs (and mobile phones) than sex - are challenged in generosity, responsibility and love.
The setting is post 9/11 (pictured shockingly in the film) and Arcand uses this as the basis for his title metaphor - but, who are the new barbarians? The 'illiterate' generation who think money can buy anything - and does? The range of migrants and refugees who pour into the American world? Perhaps the metaphor is over-stated for the realities it refers to.
Arcand has many intriguing, passing observations, especially the characters' Catholic reminiscences, the changes in Catholicism in Montreal in 1966 and the emptying of the Churches of people and statuary. The nun doing pastoral care in the hospital is presented with dignity and sympathy. The film ends with an assisted suicide which seems emotionally satisfying even as it goes against and challenges accepted religious and social standards.
1. The work of Denys Arcand? The acclaim of The Decline of the American Empire? His success with Jesus of Montreal? His films during the 90s? Beginning the 21st the with this strong film? The sequel to The Decline of the American Empire?
2. The Montreal settings, the city, the hospitals, the lake? Its atmosphere of Quebec?
3. The title, the continuation of the decline into barbarian invasions? Who are the new barbarians? The illiterate, those playing computer games, the business culture? The new barbarians at the edge of society, within it? Migrants? The viewpoint from the United States as the centre of the empire? The insertion of the visuals of September 11, 2001, and the television commentary? The point about barbarian invasion with the destruction of the Twin Towers?
4. Arcand and his reliance on verbal humour, wit, the discussions of older people, the isms that they have experienced, university intellectuals? Being clever, their questions, socialist hedonists, hedonism in their life, sexuality? Their Catholic backgrounds, their memories of the past, leading to an amoral stance? Philosophers who need to learn emotions and commitment?
5. The academic world, the world of the teachers, Remy and his final classes, the students, the new teacher?
6. The world of relationships, sexual freedom of the past, moral tolerance, human emotional needs?
7. The themes of age, time passing, appetites waning, illness, death, the need to relate once again to family? Age and its changing perspectives?
8. The framework of the film with Remy dying? His wife and her telephoning Sebastian, his unwillingness to come, the distance from his father, his agreeing to his mother's request, bringing Gaelle? The tension within the family, the expectations? Love? Remy dying and his unwillingness to accept this? Sebastian and his wanting to help his father? The criticism of the crowded ward, paying for the renovations of a new ward, payments to the administration, to the unions? Going to the US for special treatment and his contacts? Gathering together Remy's friends, getting the students to come and paying them off (with the girl refusing to take the money)? His concern about his father's pain, going to the police to inquire about heroin, going to Natalie, going to get the heroin? The policeman and his advice? Asking for the holiday house, going to the lake? The question of his father's death and the reality of dying?
9. The theme of assisted suicide, the right to die, the decision of the person dying, the nature of the means, the execution of the death, the emotions of the person concerned, of the people farewelling the person dying? Moral issues, legal issues? Intellectual understanding of the issue and the consequences?
10. Remy as a character, full of life and energy, rage, his memories, relationships, the friends gathering round, the shared memories? His reconciliation with his son? His having to face dying? The importance of Sister Constance and her presence, her advising him to face the mystery of death? The reality of his death - and the tenderness of having the friends around him, and their farewells?
11. His wife, her suffering, her still loving her husband? The two mistresses and their memories? The gay friend and his companion, Pierre and his having become a family man? The characters, talk, wit, academics of the past? Their cataloguing of the isms? Their game of imagining the best intellectual setting with the number of intellectuals present?
12. Arcand and the theme of crowded hospitals (as in Jesus of Montreal)? The continued tracking down the corridors with the crowds? Sebastian and his bribe? Authorities and unions taking the money? The nurses and their help, the doctors not knowing the identities of their patients? The critique of the health system?
13. Sister Constance, her Communion round, her relating to people, her wise words to Remy, the issue of embracing the mystery, advising Sebastian to tell his father to love him and touch him?
14. Sebastian and his work, his resenting coming to Canada, his coming with Gaelle, their relationship, the preparations for their marriage? His reaction to his father, exasperation, his ability to by anything that he wanted, the computer being lost and offering the money and its being returned? His bold approach to the police about the heroin? Getting Natalie to go to the dealer, to administer the heroin to their father, her collapse, his desperation? The nurse and her helping? His taking his father to the US, to the holiday? The change in himself, the relationship with Natalie? The ending and his future with Gaelle? The scenes with his sister, her escaping from the family, sailing around the world, the satellite links and the two messages, her father watching her on the computer?
15. Natalie, her poor relationship with her mother, her lifestyle, addiction, going to the dealer, the dealer coming to warn Sebastian that she was unreliable? Natalie and the police? Her being out of it, having to bring her to the hospital and direct the dose for Remy when he was undergoing withdrawal symptoms? The supplying of the overdose, her administering it? The final meeting with Sebastian, Remy leaving the house to her and Sebastian letting her stay - and the books? Not being one of the barbarians who didn't read? The irony of the scene where Sebastian did not read but played computer games so competitively? The final kiss and Sebastian saying, "No"?
16. The ending, the older generation and death, coming to terms with their life, Sebastian and Gaelle and the beginning for the next generation?
