|Scott Speedman and Patricia Clarkson in |
Ruba Nadda's October Gale
It is such a pleasure to be starting my reviews with Ruba Nadda's moving October Gale. She is a filmmaker I have very much admired since I first saw Cairo Time and that film remains among my favourite of all time. I use it to teach and mentor writers working in all formats and at all stages. I do so as a way of illustrating the importance of spending time with characters, allowing them to think and feel and be, even while holding the reins of good story. I also use it as a way to talk about finding and maintaining the sacred spaces of character (sacred is anything that is essential and precious to them). In Cairo Time, we see Patricia Clarkson as Juliette wander the streets of the city, both uncomfortably and then, once she has understood the rules of the world, in a comfort that appears to transcend all the realities she has ever known. That carefully constructed character space is so unusual to find in contemporary film.
|Nadda takes time to really be with her characters, even|
as the suspenseful events are playing out.
What I loved about October Gale is how the one main story situation (ie being pursued by a potential assassin) is enough to sustain us through the real drama of two people who are caught in life transitions, thrown together to figure out how to survive. The movie is about survival - that's its story. The chase sequences, the suspense, are bonus pieces that frame the storytelling and help hold it together, but really we are watching two people help themselves and each other recover from what has been devastating. Nadda lets us know pretty early into the film that this is a character-driven drama. Clarkson's Helen Matthews goes through all the routine of opening up a cottage in the very early spring, exuding self-confidence but not always sure of what she's doing. That binary quality of confidence and inexpertness will become exactly what we need to know about her when the shit hits the fan. "Are you good with that?" Speedman's character William asks Clarkson as she loads a rifle. The question is one we might be asking too, precisely because the film took time to establish her character in all her ambiguities. Her answer, "Very good" followed by a snap of the load and "Do you want to make us some coffee?" is the kind of contrast Clarkson does so well, responding to the moment but also taking us to the next place, upping the ante and offering just a hint of sexual tension. (I have never forgotten a video I once saw of her reading aloud ads from the phone book as part of a campaign to support the writers' strike some years ago. It wasn't just hilarious, it was real.)
As Clarkson and Speedman form their strange alliance, each begins to slowly reveal their story and Helen finally has to confess that her husband is not on his way from the city that night, as much as she might wish that he were. Because the character has been so lovingly created, we know that her lie is not just an act of self-protection, its a necessity to her well-being; she longs for him in a way that makes him still alive when the moment requires it. Speedman is beautifully understated in his role of a man simply in the wrong place at the wrong time who is now living in the hell of revenge-baited hit and run. We know right away that however guilty he may be, he is also a good guy, and that these two like each other. The movie takes time to be with them this way without falling into romantic cliché - a brave and unfashionable choice for a thriller, where character insight is usually allowed when it will spin forward the plot or bring characters to bed. The slow dissolution of Helen's lie and the exposure of her grief are important: they allow her to have become a different person by the time she herself has to use that gun.
One of the most moving moments for me in the film is when Helen comes face to face unexpectedly with the results of violence. Still very much in danger, she navigates being in the grip of the killer while still taking time to react to what she has just witnessed. It is riveting. These actors all excel at restraint, which might have been Nadda's middle name. It is a word she uses herself to describe her approach to doing sex on screen (or the absence of it, in Cairo Time for instance) but restraint is one of her greatest talents. It is perhaps not a fashionable talent to have in the North American obsession with showing it all. But such restraint delivers a longer, slower-burning fuse that makes for more compelling drama because there is real tension. Tim Roth's character's anecdotage about his son, while holding Helen hostage, is a beautiful example of such restraint. We have no idea what will happen next (and it could happen at any second), but meanwhile we listen to what is essentially the story of a grieving father coping with the memories of his son. Grief and its way of gripping the soul is a central dynamic of October Gale and while Helen will ultimately find ways past it, the Roth character is meant to show us what happens when we can't.
This movie is not a conventional thriller -- but that's the reason to see it. Nadda works in contrasting emotional energies always in her movies; even her early feature Sabah has it. Her more recent film Inescapable brought an immensely personal story into a world where finding space for the lost inner soul is not possible - because that world is itself devastated. Here, what she self-terms her own "languid pacing" worked in juxtaposition to the horror story that is contemporary Syria. Nadda works effectively in this sort of back-and-forth languid-staccato emotion and story rhythm in Inescapable, so that you are never far from the dark realities of its main character. In October Gale you sense that she has deepened that capacity to be both restrained and refined. "Languid pacing" leads to character depth and a fully engaging experience of character. I wish more filmmakers would aim for it.
In addition to the compelling drama, the film boasts fantastic cinematography of Georgian Bay which acts as a visual reminder that only the rugged of spirit can survive the elements and keep their sanity. This is a different terrain from that immortalized in Group of Seven paintings. This version is more truthful perhaps, in its punishing realities. As someone who herself ran out of gas on a lake this summer and had to row to shore in bad weather (!), I had an experience of cottage country which took its toll on my physical body. In October Gale, that's the cottage country landscape that is lived out by these characters viscerally: if they can survive the gale, they have endured a frontier of the heart.
It's significant that the 'gale' of the title, is not the gale of the story events, but a reference to the gale that took Helen's husband. That October gale took away life but October Gale gives life to characters who have descended into darkness and are searching for the light. The great gift to us is: we get to find it with them.