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Canada on Screen Digital Catalogue

150 essential moving-image works from Canada’s cinematic history. 150 œuvres essentielles qui ont marqué l’histoire du cinéma canadien. Discover. Découvrir.

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The budgetary limitations that Lupino had to work with (most of her films were made for $200,000 or less) both gave her the freedom to tackle challenging subject matter and inspired her to develop a resourceful and economical shooting style; in particular, Lupino's use of real locations gives her films a bracing immediacy that well suits their hot-button subjects.\\r\\n\\r\\nAfter The Filmakers was forced to close its doors in 1955, Lupino moved into television, directing episodes for some of the era's most iconic series (including Alfred Hitchcock Presents, The Fugitive, The Twilight Zone, The Untouchables and Gilligan's Island) and continuing to work intermittently as an actor well into the 1970s. (She had one of her last major roles playing Steve McQueen's mother in the Sam Peckinpah rodeo picture Junior Bonner in 1972.) 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A broadcaster, public speaker and curator, he has appeared on CBC Radio's Metro Morning as film and pop culture critic for 20 years and currently serves as Director of Film Programmes, at TIFF Bell Lightbox, overseeing Theatrical, Cinematheque, Film Circuit and Exhibition programming. Wente has curated retrospectives on Indigenous Cinema, Tim Burton, Stanley Kubrick, Michael Mann and Keanu Reeves. He has appeared in movies such as Reel Injun and Nightmare Factory. 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(This precocious maturity may have partially been a result of a successful battle with polio in 1934, which had required her to undergo extensive treatment in California.) After tenures with Paramount and Columbia, Lupino arrived at Warner Bros. in 1940, where her collaboration with director Raoul Walsh on the hit crime pictures They Drive by Night and High Sierra broke her out of her previous ingénue mold and established her talent for playing worldly, tough yet vulnerable women.\\r\\n\\r\\nWhile Lupino was a popular player for Warners throughout the 1940s, she never became one of the studio's biggest stars, frequently losing out on truly top roles to her more famous colleagues. (It was long rumoured that studio head Jack Warner viewed Lupino as insurance against the potential departure of his temperamental top star Bette Davis; however, film historian Robert Osborne maintained that Davis saw no threat in Lupino.) After seven years with the studio, Lupino took the then highly unconventional move of establishing her own independent production company, The Filmakers, with her then husband Collier Young. \\r\\n\\r\\nAt first intended to supply Lupino with the kinds of roles she had been missing out on at Warners, The Filmakers soon grew into something much more ambitious. To begin with, Lupino found a new vocation when the director of the first Filmakers production Not Wanted suffered a minor heart attack: rather than halt production to hire a replacement, Lupino anonymously took over the directing chores herself, and quickly discovered that she had a natural affinity for the role. In the next four years Lupino directed five features under the Filmakers banner, making her the most prolific female filmmaker of the era.\\r\\n\\r\\nBeyond this milestone, Lupino from the very beginning had conceived of The Filmakers as a way to make films about the kind of controversial issues that the big studios tended to scrupulously avoid: out-of-wedlock pregnancies (Not Wanted), sexual assault (Outrage), the covert professionalization of amateur sports (Hard, Fast and Beautiful), bigamy (The Bigamist). The budgetary limitations that Lupino had to work with (most of her films were made for $200,000 or less) both gave her the freedom to tackle challenging subject matter and inspired her to develop a resourceful and economical shooting style; in particular, Lupino's use of real locations gives her films a bracing immediacy that well suits their hot-button subjects.\\r\\n\\r\\nAfter The Filmakers was forced to close its doors in 1955, Lupino moved into television, directing episodes for some of the era's most iconic series (including Alfred Hitchcock Presents, The Fugitive, The Twilight Zone, The Untouchables and Gilligan's Island) and continuing to work intermittently as an actor well into the 1970s. (She had one of her last major roles playing Steve McQueen's mother in the Sam Peckinpah rodeo picture Junior Bonner in 1972.) Interest in and admiration for Lupino's work as a director has steadily increased over the years, and the recent retrospectives of her films by noted curators Barbara Scharres and Anne Morra have not only occasioned a new wave of praise for her accomplishments, but placed her in the context of the continuing struggle for gender parity in the film and television industries. The rarity of Lupino's case is both a cause for celebration and a reminder of how far we still have to go. Filmmakers like Lupino - along with her successors such as Kathryn Bigelow (also subject of a TIFF Cinematheque retrospective this season), Kelly Reichardt, Lexi Alexander, and any number of TV's top showrunners - remind us that more equal opportunity will yield better films and better artists, and that the only barriers to these truly are man-made.\\r\\n\\r\\n-Jesse Wente\\r\\n\\r\\nThanks to Anne Morra and Barbara Scharres. \\r\\n\"}}"],"agesMin":null,"agesMax":null,"gradesMin":null,"gradesMax":null},{"scheduleItems":[{"title":"TBLB4-2017-06-16T09:00-04:00","ticketKey":"7U16I3T4","audienceType":"Public","venue":{"sys":{"space":{"sys":{"type":"Link","linkType":"Space","id":"22n7d68fswlw"}},"id":"TBLB415","type":"Entry","createdAt":"2016-06-03T19:27:49.474Z","updatedAt":"2017-05-25T13:36:52.117Z","revision":2475,"contentType":{"sys":{"type":"Link","linkType":"ContentType","id":"venue"}},"locale":"en-CA"},"fields":{"room":"Cinema 4 - Paul & Leah Atkinson Family 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Piers Handling,\\n
Director & CEO, TIFF\\n\\n

Canada on Screen est la rétrospective la plus ambitieuse jamais programmée. Elle permet de mettre\\nen lumière l’héritage cinématographique canadien, et c’est une grande première dans notre pays. Le\\ncontexte est d’ailleurs idéal ! Nous n’aurions en effet pas pu trouver meilleur moment que celui du 150e\\nanniversaire du Canada pour célébrer l’héritage du cinéma canadien, en prenant pour exemple les commémorations\\ndu centenaire de 1967 qui ont permis de donner une nouvelle dimension à notre identité.\\nDe l’héritage laissé par le cinéma canadien, que ce soit en matière de longs-métrages, de courts-métrages,\\nde documentaires, de films d’animation, de télévision, d’oeuvres expérimentales, de clips vidéos, de publicités\\nou encore d’installations cinématographique, nous ne connaissons finalement qu’une petite partie\\nd’un tout beaucoup plus vaste. Nous avons en effet réalisé quelques-uns des plus grands films dans\\nchacune de ces catégories. Ce programme des « 150 films Essentiels » nous permettra également de\\ndiffuser les plus grandes oeuvres dans l’ensemble du Canada pendant toute l’année 2017. Bonnes séances\\net bonnes découvertes à toutes et à tous !\\n\\n

— Piers Handling,\\n
Directeur et président du TIFF
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(This precocious maturity may have partially been a result of a successful battle with polio in 1934, which had required her to undergo extensive treatment in California.) After tenures with Paramount and Columbia, Lupino arrived at Warner Bros. in 1940, where her collaboration with director Raoul Walsh on the hit crime pictures They Drive by Night and High Sierra broke her out of her previous ingénue mold and established her talent for playing worldly, tough yet vulnerable women.\\r\\n\\r\\nWhile Lupino was a popular player for Warners throughout the 1940s, she never became one of the studio's biggest stars, frequently losing out on truly top roles to her more famous colleagues. (It was long rumoured that studio head Jack Warner viewed Lupino as insurance against the potential departure of his temperamental top star Bette Davis; however, film historian Robert Osborne maintained that Davis saw no threat in Lupino.) After seven years with the studio, Lupino took the then highly unconventional move of establishing her own independent production company, The Filmakers, with her then husband Collier Young. \\r\\n\\r\\nAt first intended to supply Lupino with the kinds of roles she had been missing out on at Warners, The Filmakers soon grew into something much more ambitious. To begin with, Lupino found a new vocation when the director of the first Filmakers production Not Wanted suffered a minor heart attack: rather than halt production to hire a replacement, Lupino anonymously took over the directing chores herself, and quickly discovered that she had a natural affinity for the role. In the next four years Lupino directed five features under the Filmakers banner, making her the most prolific female filmmaker of the era.\\r\\n\\r\\nBeyond this milestone, Lupino from the very beginning had conceived of The Filmakers as a way to make films about the kind of controversial issues that the big studios tended to scrupulously avoid: out-of-wedlock pregnancies (Not Wanted), sexual assault (Outrage), the covert professionalization of amateur sports (Hard, Fast and Beautiful), bigamy (The Bigamist). The budgetary limitations that Lupino had to work with (most of her films were made for $200,000 or less) both gave her the freedom to tackle challenging subject matter and inspired her to develop a resourceful and economical shooting style; in particular, Lupino's use of real locations gives her films a bracing immediacy that well suits their hot-button subjects.\\r\\n\\r\\nAfter The Filmakers was forced to close its doors in 1955, Lupino moved into television, directing episodes for some of the era's most iconic series (including Alfred Hitchcock Presents, The Fugitive, The Twilight Zone, The Untouchables and Gilligan's Island) and continuing to work intermittently as an actor well into the 1970s. (She had one of her last major roles playing Steve McQueen's mother in the Sam Peckinpah rodeo picture Junior Bonner in 1972.) 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Filmmakers like Lupino - along with her successors such as Kathryn Bigelow (also subject of a TIFF Cinematheque retrospective this season), Kelly Reichardt, Lexi Alexander, and any number of TV's top showrunners - remind us that more equal opportunity will yield better films and better artists, and that the only barriers to these truly are man-made.\\r\\n\\r\\n-Jesse Wente\\r\\n\\r\\nThanks to Anne Morra and Barbara Scharres. \\r\\n\"}}"],"countries":["USA"],"agesMin":null,"agesMax":null,"gradesMin":null,"gradesMax":null},{"scheduleItems":[{"title":"TBLB3-2017-06-25T16:00-04:00","ticketKey":"7U2540T3","audienceType":"Public","venue":{"sys":{"space":{"sys":{"type":"Link","linkType":"Space","id":"22n7d68fswlw"}},"id":"TBLB314","type":"Entry","createdAt":"2016-05-26T14:20:49.369Z","updatedAt":"2017-05-25T13:37:10.605Z","revision":3320,"contentType":{"sys":{"type":"Link","linkType":"ContentType","id":"venue"}},"locale":"en-CA"},"fields":{"room":"Cinema 3","shortName":"TBLB3","venue":"TIFF Bell Lightbox","venueDirectory":{"sys":{"space":{"sys":{"type":"Link","linkType":"Space","id":"22n7d68fswlw"}},"id":"5UurqtK1UcSQusaUIk2aKg","type":"Entry","createdAt":"2016-06-23T21:27:27.238Z","updatedAt":"2017-05-02T17:41:38.227Z","revision":4,"contentType":{"sys":{"type":"Link","linkType":"ContentType","id":"directoryItem"}},"locale":"en-CA"},"fields":{"location":{"lon":-79.39023729999997,"lat":43.6466182},"displayAddress":"350 King St W, Toronto, ON M5V 3C6, Canada","tags":["Venue","Box Office","Fesitval","Year-round"],"title":"TIFF Bell Lightbox"}},"webDisplay":"TIFF Bell Lightbox 3","webShortDisplay":"TBLB 3"}},"startTime":"2017-06-25T16:00-04:00","endTime":"2017-06-25T17:56-04:00","tags":["subtitledPrint","Confirmed"],"printFormat":"","free":"","guestAttendance":false,"cancelMsg":"","ticketKeyWeb":"7U2540T3"}],"screeningsString":[1498363200000],"screeningsTagsByDay":[],"img":"//images.contentful.com/22n7d68fswlw/7l0qTQnv1KwQ2maMqQwcwE/e24bbe945a81400c0969b68b844c7b52/CTQ_Muriel.jpg","title":"Muriel","director":"Alain Resnais","eventType":["Film"],"url":"/films/muriel","series":["TIFF Cinematheque 2012","Year-round Programming 2017","{\"sys\":{\"space\":{\"sys\":{\"type\":\"Link\",\"linkType\":\"Space\",\"id\":\"22n7d68fswlw\"}},\"id\":\"AT73PS3604S601PR50\",\"type\":\"Entry\",\"createdAt\":\"2016-06-22T18:54:23.528Z\",\"updatedAt\":\"2017-05-24T13:07:39.816Z\",\"revision\":178,\"contentType\":{\"sys\":{\"type\":\"Link\",\"linkType\":\"ContentType\",\"id\":\"programme\"}},\"locale\":\"en-CA\"},\"fields\":{\"title\":\"TIFF Cinematheque 2012-Retrospective\",\"arrangement\":\"TIFF Cinematheque\",\"season\":\"2012 Summer\",\"programmeSeries\":\"Retrospective\",\"programmers\":[{\"sys\":{\"space\":{\"sys\":{\"type\":\"Link\",\"linkType\":\"Space\",\"id\":\"22n7d68fswlw\"}},\"id\":\"50\",\"type\":\"Entry\",\"createdAt\":\"2016-06-14T18:41:20.676Z\",\"updatedAt\":\"2017-05-25T13:34:20.641Z\",\"revision\":4298,\"contentType\":{\"sys\":{\"type\":\"Link\",\"linkType\":\"ContentType\",\"id\":\"person\"}},\"locale\":\"en-CA\"},\"fields\":{\"displayName\":\"Jesse Wente\",\"firstName\":\"Jesse\",\"lastName\":\"Wente\",\"image\":{\"sys\":{\"space\":{\"sys\":{\"type\":\"Link\",\"linkType\":\"Space\",\"id\":\"22n7d68fswlw\"}},\"id\":\"6pOWIk7PjOUIWi68kK2MYw\",\"type\":\"Asset\",\"createdAt\":\"2017-05-15T13:05:40.562Z\",\"updatedAt\":\"2017-05-15T13:05:40.562Z\",\"revision\":1,\"locale\":\"en-CA\"},\"fields\":{\"title\":\"Jesse Wente\",\"file\":{\"url\":\"//images.contentful.com/22n7d68fswlw/6pOWIk7PjOUIWi68kK2MYw/a59308e304eb69e1bfeaee03b6b7962f/Jesse_Wente.jpg\",\"details\":{\"size\":42365,\"image\":{\"width\":400,\"height\":400}},\"fileName\":\"Jesse Wente.jpg\",\"contentType\":\"image/jpeg\"}}},\"bio\":\"Jesse Wente is Ojibwe from Toronto. 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More than any of his New Wave confreres — Godard, Rivette, Chabrol, Rohmer (the latter also on view this summer at the Cinematheque) — he judged the world by and through the movies. Though he shared with Godard a predilection for inserting italicized homages to and borrowings from his favourite directors and writers into his own films, these were never intended as part of a radical renovation of cinematic form as in JLG: more affectionate than aggressive, these were for Truffaut acts of gratitude and evocations of a lost paradise, a very personal cultural history that ranged from Victor Hugo to David Goodis, D.W. Griffith to Frank Tashlin. And while Godard viewed aesthetic insurrection as commensurate with political revolution, for Truffaut, film pre-empted life and precluded politics; he was moved to partisan action only when Henri Langlois, the legendary founder of La Cinémathèque française, was sacked by the Minister of Culture in early 1968, sparking street protests that served as a prelude to the student uprisings of May. (One should however note the contrary contention by _The New Yorker_ 's Richard Brody that Truffaut's cinema in fact grew increasingly political after that upheaval: \\\"Many of Truffaut's films from that time [1970] reflect — or, rather, refract — the politics of the day in terms of the filmmaker's distinctive range of concerns.\\\")\\n\\nThe seemingly incompatible influences of Jean Renoir and Alfred Hitchcock shaped Truffaut's vision of cinema and of life: _The Rules of the Game_ and _Vertigo_ were both sacred texts for him, and his critical advocacy of Hitchcock in _Cahiers du Cinéma_ helped establish the Master's eternal claim to greatness. For much of Truffaut's career, his work was viewed under the sign of his French father: critics long focused on the sunny, Renoirian charm of Truffaut's cinema, and were puzzled or put off by his excursions into Hitchcock imitation (_The Bride Wore Black, Mississippi Mermaid_ ) and by his increasingly feverish morbidity in such films as _The Story of Adele H._ and _The Green Room_. That Truffaut dubbed his production company Les Films du Carrosse, after Renoir's _The Golden Coach_ (_Le Carrosse d'or_ ), appears to indicate that he was more naturally disposed to Renoir's lyrical humanism than to the stylistic calculation and moral ambiguity of Hitchcock. (Brody asserts: \\\"Where Hitchcock saw evil in metaphysical terms, Truffaut filmed it in psychological terms, as the result of childhood miseries.\\\")\\n\\nHowever, no doubt because of the revival of interest in the Hitchcock-Truffaut nexus, critical emphasis has recently shifted to accentuate (and perhaps overstate) the darkness of the latter's vision, from the emotional rawness of _The 400 Blows_ to the death-haunted romanticism of _Jules et Jim_ and _Two English Girls_ and the mayhem amid the mirth of _Confidentially Yours_. (Indeed, the number of characters who die in Truffaut's films rivals the body count in Hitchcock; _The Man Who Loved Women_ even begins with the funeral of its main character.) In this schema, even the charming, child-centred world of _Small Change_ is charged with foreboding, while the candles and tapers that proliferate in Truffaut's cinema become liturgical, funereal, and the music he lovingly recycles from old movies as much memento mori as knowing invocation (_Lost, Lost, Lost_ could be an alternative title for _The Green Room_).\\n\\nWhile the latter-day attempts to transform Truffaut into a brooding artist with a tragic vision sometimes slight the trademark irony and insouciance so apparent in his work, such pendulum swings in film criticism are inevitable, even salutary: the Truffaut that emerges, equal parts purveyor of Gallic romance and levity and poet of mortality and anguish, provides a more complex and satisfying portrait of the artist than the one we hitherto had. Though Bresson seems a more likely secret sharer for Hitchcock — both directors were Catholic metaphysicians and stylistic innovators (one immediately thinks of the brilliant \\\"feet-first\\\" opening of _Strangers on a Train_, which could have influenced the Gare de Lyon sequences in _Pickpocket_ and many similar truncated shots in _Le Diable probablement_) — Truffaut possessed profound insights into Hitchcock's art and a keen understanding of how it had influenced his own.\\n\\nIn _Hitchcock/Truffaut_, the book-length career interview he conducted with Hitch that was first published in 1967 (and whose creation is the subject of Kent Jones' recent documentary, also screening in this series), Truffaut recognized Hitchcock as one of \\\"such artists of anxiety as Kafka, Dostoevsky, and Poe,\\\" and tellingly declared that \\\"in Hitchcock's work a filmmaker is bound to find the answer to many of his own problems, including the most fundamental question of all: how to express oneself by purely visual means.\\\" Professing a deep and abiding passion for the \\\"terrifying lucidity\\\" of what he called Hitchcock's \\\"complete\\\" cinema, Truffaut pursued that precision in his own films, despite the temperamental disparity between his more nakedly confessional impulses and Hitch's highly coded and voyeuristic work. 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After seven years with the studio, Lupino took the then highly unconventional move of establishing her own independent production company, The Filmakers, with her then husband Collier Young. \\r\\n\\r\\nAt first intended to supply Lupino with the kinds of roles she had been missing out on at Warners, The Filmakers soon grew into something much more ambitious. To begin with, Lupino found a new vocation when the director of the first Filmakers production Not Wanted suffered a minor heart attack: rather than halt production to hire a replacement, Lupino anonymously took over the directing chores herself, and quickly discovered that she had a natural affinity for the role. In the next four years Lupino directed five features under the Filmakers banner, making her the most prolific female filmmaker of the era.\\r\\n\\r\\nBeyond this milestone, Lupino from the very beginning had conceived of The Filmakers as a way to make films about the kind of controversial issues that the big studios tended to scrupulously avoid: out-of-wedlock pregnancies (Not Wanted), sexual assault (Outrage), the covert professionalization of amateur sports (Hard, Fast and Beautiful), bigamy (The Bigamist). The budgetary limitations that Lupino had to work with (most of her films were made for $200,000 or less) both gave her the freedom to tackle challenging subject matter and inspired her to develop a resourceful and economical shooting style; in particular, Lupino's use of real locations gives her films a bracing immediacy that well suits their hot-button subjects.\\r\\n\\r\\nAfter The Filmakers was forced to close its doors in 1955, Lupino moved into television, directing episodes for some of the era's most iconic series (including Alfred Hitchcock Presents, The Fugitive, The Twilight Zone, The Untouchables and Gilligan's Island) and continuing to work intermittently as an actor well into the 1970s. (She had one of her last major roles playing Steve McQueen's mother in the Sam Peckinpah rodeo picture Junior Bonner in 1972.) Interest in and admiration for Lupino's work as a director has steadily increased over the years, and the recent retrospectives of her films by noted curators Barbara Scharres and Anne Morra have not only occasioned a new wave of praise for her accomplishments, but placed her in the context of the continuing struggle for gender parity in the film and television industries. The rarity of Lupino's case is both a cause for celebration and a reminder of how far we still have to go. Filmmakers like Lupino - along with her successors such as Kathryn Bigelow (also subject of a TIFF Cinematheque retrospective this season), Kelly Reichardt, Lexi Alexander, and any number of TV's top showrunners - remind us that more equal opportunity will yield better films and better artists, and that the only barriers to these truly are man-made.\\r\\n\\r\\n-Jesse Wente\\r\\n\\r\\nThanks to Anne Morra and Barbara Scharres. \\r\\n\"}}"],"agesMin":null,"agesMax":null,"gradesMin":null,"gradesMax":null},{"scheduleItems":[{"title":"TBLB3-2017-07-30T17:45-04:00","ticketKey":"7L3054T3","audienceType":"Public","venue":{"sys":{"space":{"sys":{"type":"Link","linkType":"Space","id":"22n7d68fswlw"}},"id":"TBLB314","type":"Entry","createdAt":"2016-05-26T14:20:49.369Z","updatedAt":"2017-05-25T13:37:10.605Z","revision":3320,"contentType":{"sys":{"type":"Link","linkType":"ContentType","id":"venue"}},"locale":"en-CA"},"fields":{"room":"Cinema 3","shortName":"TBLB3","venue":"TIFF Bell 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