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Featured Reviews | Sundance | Movie Library Movies
After having viewed a few of the currently available lesbian films, I am again left without an answer to my inevitable question, “Why can’t someone make a good one?” Intelligent writing, quality production, competent acting, and skillful directing are the hallmarks of creative filmmaking, whether it is gay or straight. However, rather than continue to bemoan this continuing and regrettable lack of noteworthy effort in this area, I will revisit a genuine film classic, a personal treasure of mine, and a film which many critics have judged to be “one of the top twenty women’s films of all time.” If you have yet to see this Canadian film, you have a most enduring and rewarding experience awaiting you. When Night is Falling tells the story of Camille (Pascale Bussieres), a professor at a conservative Christian college, who is engaged to Martin (Henry Czerny), a minister and fellow professor. The couple is being urged by the Dean (David Fox) to marry soon so that they can become the new co-chaplains for the college. Yet, for some reason not quite apparent to Camille, she has mixed feelings about her life, Martin, and their plans for the future. One morning her dog gets loose and subsequently is struck by a car. Deeply saddened, Camille discovers her pet, takes it home, and tries to lose herself in the mundane activities of the day. It is while she is at the laundromat that she meets Petra (Rachael Crawford), a vibrant and flamboyant young woman who is in between performances with an avant-garde surrealist circus company. Immediately attracted to the weeping Camille, Petra offers her solace and unobtrusively manages to switch their laundry in order to see Camille once again. Soon both women will realize that there is such a thing as a true soul mate, that the conventional is not always preferable, and that life is indeed a conundrum. Patricia Rozema has created an appealing and intriguing portrait
of one woman’s thoughtful yet tentative search for her purpose
in the scheme of things. Her captivating screenplay engages the viewer
from the opening scene through the closing credits. (By the way,
stay until the end of these credits; you will be pleased that you
did.) Her writing is crisp, cogent, and introspective. Devoid of
any maudlin sentimentality or religiosity, Shooting each scene with clarity and resonance and enhancing the effects with a subdued musical score adds to the overall mood and atmosphere of this film. Douglas Koch’s cinematography captures the understated emotional currents. Set in and around Toronto during winter, the predominantly gray and overcast landscape reflects Camille’s uncertainty and hesitation. The hang gliding sequence is especially evocative as Camille breaks through her mundane cocoon to experience yet another challenge. The visual appeal of this film rests in its imagery devoid of any dialogue. This is also true of the tastefully filmed erotically charged love scenes. The scene conveys everything the viewer needs to know and appreciate. Leslie Barber’s musical score enhances the quietude of each scene juxtaposed with the raucous cirque sequences. Underlying themes reinforce the emotional chaos that both Camille and Petra are experiencing as they re-evaluate their hopes and desires. Acting kudos go to both Pascale Bussieres (Camille) and Henry Czerny (Martin) as the couple who steadfastly attempt to understand the circumstances that have changed their lives and who desperately try to not inflict emotional pain upon the other as the situation begins to spiral toward its inevitable conclusion. Rachael Crawford (Petra) manages to convey the insouciance of youth while at the same time allowing only her facial expressions to say so much more than mere words could ever convey. At first glance Camille and Petra seem an unlikely pair, but each woman has indeed so much to offer the other. A satisfying counterpoint is created by the deft direction of Patricia Rozema. Their cautious discovery, then committed journey together is an indisputably realistic and poignant attempt to re-define the existence and purpose each woman hopes to achieve with and for each other. When Night is Falling is that rare film wherein less
is best actually works. An intriguing screenplay, superb direction,
quality production values, and consummate acting make this film
an experience that is both savored and long remembered. The ensemble
acting here gives each actor enough time to establish each role
with all its twists and turns. Watching this film is much like
sharing a fine meal and a bottle of wine with intimate friends.
It is in those contemplative moments in life that bring forth the
best in each of us. When Night is Falling is that kind
of experience. I strongly recommend and urge you to view this film.
You will definitely add it to your Top Ten list. —Arlene
Germain, reviewer
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Rozema’s story could
just as well have been about a store clerk. She has Camille questioning
the parameters of her faith and its doctrine. As she begins to accept
who she really is, Camille puts her own faith and ideals to the test.
Rozema’s direction is subtle and carefully understated. The
story unfolds at a leisurely pace, which allows the viewer to step into
the film. The film gathers momentum once Camille and Petra meet in
the entryway of the former’s apartment. As their relationship
begins to develop, the pace of the film reflects this growing intensity.
"Arts and Entertainment for
Women"
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