Dilettante's Diary

Aug 22/14

Who Do I Think I Am?
Index: Movies
Index: Writing
Index: Theatre
Index: Music
Index: Exhibitions
Artists' Blogs
Index: TV, Radio and Misc
MAY 27, 2024
Nov 3, 2023
Aug 2, 2023
July 4, 2023
Apr 21, 2023
Feb 10, 2023
Jan 24, 2023
Jan 11, 2023
Dec 2, 2022
July 26, 2022
July 4, 2022
June 2, 2022
March 25, 2022
March 11, 2022
Feb 14, 2022
Nov 19, 2021
Oct 2021
Sept 16, 2021
July 21, 2021
July 15, 2021
June 11, 2021
Apr 23, 2021
March 12, 2021
Feb 13, 2021
Jan 5, 2021
December 2020
Autumn Mysteries 2020
Aug 12/20
May 25/20
Apr 30/20
March 12/20
Dec 6/19
Jan 29/20
Nov 10/19
Oct 24/19
Sept 30/19
Aug 2/19
June 22/19
May 26/19
Apr 22/19
Feb 23/19
Jan 15/19
Dec 20/18
Dec 3/18
Oct 3/18
Sept 9/18
Aug 9/18
July 19/18
June 2/18
May 14/18
Apr 23/18
Feb 22/18
Dec 13/17
Nov 22/17
Nov 3/17
Oct 5/17
Sept 21/17
Aug 3/17
June 16/17
Mar 21/17
Feb 26/17
Feb 9/17
Jan 30/17
Dec 19/16
Dec 11/16
Nov 20/16
Sept 17/2016
Aug 21/16
July 17/16
June 29/16
June 2/16
Apr 23/16
Feb 28/16
Feb 1/16
Jan 27/16
Winter Reading 2016
Dec 15/15
Nov 19/15
Fall Reading 2015
Oct 29/15
Sept 16/15
Sept 4/15
July 29, 2015
July 1, 2015
June 7/15
Summer Reading 2015
May 19/15
Apr 30/15
Apr 19/15
Spring Reading 2015
March 23/15
March 11/15
Winter Reading 2015
Feb 20/15
Feb 8/15
Jan 29/15
Jan 20/15
Highs 'N Lows of 2014
Dec 19/14
Dec 2/14
Nov 10/14
Oct 29/14
Fall Reading 2014
Sept 17/14
Summer Reading 2014
Aug 22/14
Aug 8/14
July 11/14
June 16/14
May 28/14
Apr 30/14
Apr 16/14
Apr 2/14
March 21, 2014
March 13/14
Feb 11/14
Sept 23/13
Favourite Works: 2004-2013
Two Novels by BARBARA PYM
Sabbath's Theater by PHILIP ROTH
July 18/13
Summer Reading 2013
June 19/13
May 30/13
Spring Reading 2013
May 10/13
Apr 18/13
Mar 29/13
March 14, 2013
The Artist Project 2013
Feb 25/13
Winter Reading 2013
Feb 7/13
Jan 22/13
Jan 12/13
A Toast to 2012
Dec 19/12
Dec 16/12
Dec 4/12
Fall Reading 2012
Nov 17/12
Nov 6/12
Art Toronto 2012
Oct 23/12
Oct 4/12
Sept 28/12
Summer Reading 2012
Aug 26/12
Aug 8/12
Toronto Outdoor Art Exhibition 2012
July 14/12
June 28/12
May 27/12
May 20/12
May 4/12
La Traviata: Met's Live HD Version
Apr 21/12
Apr 6/12
Mar 22/12
Mar 9/12
The Artist Project 2012
Academy Awards Show 2012
Feb 26/12
Feb 11/12
Jan 23/12
Jan 15/12
Jan 7/12
Dec 20/11
Dec 12/11
Nov 27/11
Nov 18/11
Nov 7/11
Art Toronto 2011
Oct 22/11
Oct 17/11
Sept 30, 2011
Summer Reading 2011
Aug 11/11
July 28, 2011
July 19/11
TOAE 2011
June 25/11
June 20/11
June 2/11
May 14/11
Apr 29/11
Toronto Art Expo 2011
Apr 11/11
March 24/11
The Artist Project 2011
March 11/11
Feb 23/11
Feb 7/11
Jan 21/11
Jan 17/11
Dec 21/10
Dec 6/10
Nov 11/10
Fall Reading 2010
Oct 22/10
Summer Reading 2010
Aug 9/10
Aug 2/10
TOAE 2010
July 16/10
The Shack
June 27/10
June 3/10
May 5/10
April 17/10
Mar 28/10
Mar 17/10
The Artist Project 2010
Toronto Art Expo 2010
Feb 22/10
Feb 3/10
Notables of '09
Jan 11/10
Dec 31/09
Dec 17/09
How Fiction Works
Nov 24/09
Sex for Saints
Nov 11/09
Oct 22/09
Oct 6/09
Sept 18/09
Aug 23/09
July 31/09
July 17/09
Toronto Outdoor Art Exhibition 2009
Toronto Fringe 2009
Zen Wrapped In Karma Dipped In Chocolate
June 28/09
June 6/09
Myriad Mysteries 2009
May 10/09
CBC Radio -- "The New Two"
April 14/09
March 24/09
Toronto Art Expo '09
March 1/09
The Jesus Sayings
Feb 8/09
Jan 26/09
Jan 10/09
Stand-outs of 2008
Dec 24/08
Dec 4/08
Nov 16/08
Oct 27/08
Oct 16/08
Sept 26/08
Sept 5/08
July 21/08
Toronto Outdoor Art Exhibition 08
July 5/08
June 23/08
June 4/08
May 18/08
May 4/08
April 16/08
March 26/08
Head to Head
Feb 26/08
Feb 13/08
Jan 30/08
Jan 17/08
Notables of 2007
Dec 30/07
Dec 8/07
Nov 22/07
Oct 25/07
Oct 4/07
Sept 18/07
Aug 29/07
Aug 8/07
Summer Mysteries '07
July 20/07
June 28/07
June 8/07
May 21/07
May 2/07
April 14/07
March 23/07
Toronto Art Expo 2007
March 8/07
Feb 16/07
Feb 2/07
Jan 24/07
Notables of 2006
Dec 27/06
December 11/06
November 28/06
Nov 8/06
October 14/06
Sept 22/06
Ring Psycho (Wagner on CBC Radio)
Sept 6/06
August 12/06
July 18/06
June 27/06
June 9/06
May 23/06
Me In Manhattan
May 2/06
April 12/06
March 17/06
March 9/06
Feb 16/06
Feb 1/06
Jan 11/06
Dec 31/05
Dec 12/05
Nov 25/05
Nov 4/05
Oct 24/05
Sept 7/05
Sept 16/05
Sept 1/05
Aug 10/05
July 21/05
Me and the Jays
July 10/05
June 15/05
May 18/05
April 27/05
April 18/05
April 8/05
March 21/05
Feb 28/05
Feb 21/05
Feb 4/05
Jan 28/05
Jan 19/05
Jan 5/05
About Me
Dec 20/04
Dec 5/04
OTHER STUFF: Art Exhibitions, Concerts, etc.

The date that appears above is the date of the most recent reviews. As new reviews are added, the date will change accordingly. The new reviews will appear towards the top of the page and the older ones will move further down. When the page is closed, the items will be archived according to the final date on the page.

Reviewed here: A Master Builder (Movie)

A Master Builder (Movie) based on the play by Henrik Ibsen; adapted by Wallace Shawn; directed by Jonathan Demme; starring Wallace Shawn, Julie Hagerty, Lisa Joyce, Larry Pine, Andr Gregory, Jeff Biehl, Emily Cass McDonnell

I don't know all the background of this film, but it looks a lot like another of those projects wherein Wallace Shawn gathers a bunch of very sophisticated actors to work on some classic text for ages before actually committing their work to film. His Uncle Vanya is a good example. Usually, these films offer lots of what might be called "method acting" – i.e. emphasis on the interiority of the characters – almost none of the pizzaz or glamour of a Hollywood production.

In this case, the filming doesn’t quite disguise the literary aspect of the piece. The opening scenes – with lots of expository dialogue – seem very stagey. Characters keep making dramatic pauses and saying things like "Yes, of course," (not an exact quote). None of it sounds natural and spontaneous, in spite of the many close-ups which are, apparently, intended to offset the theatrical quality. There’s a problem with the editing, too. Sometimes, we get a reaction shot too quickly. For example, character A will say something to make character B angry and we get the shot of B’s angry face before there’s time for the effect of A’s remark to sink in. I was also somewhat distracted by the action of the hand-held camera; it often zooms in and out to no discernible purpose. It’s interesting, though, that the camera sometimes focuses on the face of someone other than the character who is speaking; that’s something you don’t often get in conventional movies. It seems to invite us to consider what’s going on from a point of view other than the obvious one.

The point at which the movie suddenly engaged me was when an elderly man (Andr Gregory) is confiding in the master builder (Wallace Shawn). The older man is dying and he wants to go to his grave knowing that his son has the makings of a successful architect. So the dad is pleading with the master builder to give the son some special acknowledgment that will set him on the path to success. But the master builder refuses. He tells the dying dad something like (not an exact quote): "You will go to your grave with whatever dignity you have been able to summon on your own behalf." Wallace Shawn delivers the line with such chilling authority that it sets you back in your seat. He had me from that moment on.

Mind you, it was hard not to keep imagining someone in the role who looked more heroic than Mr. Shawn. Partly as a result of seeing other productions, and partly from being familiar with the tradition Ibsen was writing in, I kept picturing the kind of imposing, domineering actor who was probably a matinee idol not so long ago in his career. Mr. Shawn – with his short stature and his unprepossessing mein  – doesn’t easily banish that image. To give him full credit, though, it’s unlikely that any of the more statuesque actors could so fully convey the fluctuating turmoil of the character’s inner life. This man is constantly revealing new things about himself; we never seem to get to the bottom of him. And yet the volcanic spew flows out of Mr. Shawn in a quirky way that seems completely authentic and believable.

You’re never sure what the truth is about this guy. Is he all about ambition, manipulation, vanity, jealousy, frustrated love? The various possibilities swirl around and around, all of them plausible. As the fascination deepens, you can’t help being reminded that this is great play writing. And just when you think things may be getting a little too talky, along comes a plot development that gives the drama another push forward

Apart from Mr. Shawn, two of the women actors stand out as astounding. First, there’s Julie Hagerty, as the builder’s wife, Aline. Ms Hagerty is one of those beautiful, stylish women who, at some point in life, becomes a Nancy Reagan: extremely gaunt, almost skeletal, with very high cheek bones and deep-set eyes. Merely standing in a doorway, looking into a room, this woman can bore holes into you with her stare. (Actually, she’s not looking at you, she’s looking at yet another of the young women who have been attracted to her husband like flames to a moth.) It’s a wonder the camera doesn’t break down under her penetrating glare. And yet, when this woman is forced to give the appearance of being gracious, she flashes a smile so dazzling that it could melt icebergs. Her best moment is when she’s talking about some dolls of hers that were destroyed in a house fire. She says it was a sad loss and yet she’s laughing at herself for being upset about such a trivial thing. It’s rare that an actor can produce a kind of laughter that speaks so eloquently of heartbreak.

The other sensational performance comes from Lisa Joyce in the role of Hilde, a young woman who insists that she has some kind of romantic claim on the master builder as a result of an encounter ten years earlier. Ms Joyce’s arrival on the scene constitutes one of the all-time great entrances of any actor on stage or screen. Admittedly, lighting and camera angles have a lot to do with it, but Ms. Joyce lives up to every such advantage and, by the force of her personality, she goes way beyond what might be expected. Her charisma and charm – not to mention her great beauty – leap off the screen. It’s no wonder that the master builder, even though he doesn’t remember a damn thing about her, responds to her like a kid on finding his fairy godmother at the end of his bed. He hops around her, returning her smiles and giggles, like an eager bunny.

The playful way these two interact almost has the effect of underlining the fact that other actors would probably do the scene in a more careful, cautious way. And that’s one of the great things about this movie. You’re almost always aware that the actors are interpreting the proceedings in new, fresh ways that seem perfectly right. Some aspects of the innovating, however, are a little hard to get. The movie starts with the master builder in bed, hooked up to high-tech machinery, a heart monitor beeping in the background. And yet, he’s being tended by old-fashioned looking nurses in veils. The house that he’s inhabiting is obviously furnished in a 19th century way, but a young visitor is dressed in very contemporary short-shorts, with knee socks and hiking boots. The only sense I can make of it is that the master builder is a contemporary person who’s dreaming of all this happening to him. Somehow, the tragic end of the dream, i.e. the one that Ibsen wrote, is made to overlap with the master builder’s real end in current time. Maybe the filmmakers are trying to show that time is flexible, that past and present don’t always fit into our conventional chronological slots.

Still, some motifs don’t translate well into contemporary terms. It’s hard to get excited today by the symbolic import of the master’s wanting to build towers on his houses and to climb up on the completed structures in order to crown them with a wreath. The only contemporary parallel I can think of is the custom that’s reported to take place on the completion of structures like Toronto’s CN Tower. They say that, when the tower was finally capped, some of the workers made a point of peeing off it. Somehow, I don’t think that’s the kind of thing that this movie wants to suggest.

You can respond to: patrick@dilettantesdiary.com