OH, CANADA -- Demythologizing a Cultural Idol

Review by Camden Ferrell

​Despite being in his late 70’s, legendary writer and director Paul Schrader is still pumping out movies on a consistent basis. Oh, Canada is his most recent effort based on the novel Forgone by Russell Banks. It had its premiere at the Cannes Film Festival earlier this year. While it touches on poignant and fascinating themes, the movie’s undercooked narrative prevents this from making the most of its thought-provoking premise.
 
Leo Fife is a legendary documentary filmmaker at the end of his life. As he grapples with his imminent demise, he agrees to have his final testament filmed by other documentary filmmakers. We see Leo’s life as a young adult as he recounts his story of draft-dodging during the Vietnam War and the life he previously had. Leo, despite being an unreliable narrator, attempts to break down his mythological life. I think this premise tackles legacy in a fascinating way, and it’s a lens that feels almost meta due to the unintentional role Schrader has carved for himself in American culture.
 
Schrader clearly knows what he’s trying to say with this movie, but the script has a hard time translating this into a tight and cohesive story. The themes linger throughout every scene, but the narrative fails to enhance it. Beats feel out of place and disjointed, and this ultimately undermines the beautiful and enigmatic ideas that are present. Despite this, there are still a handful of brilliant narrative moments that show promise if only it was a characteristic that was present throughout the movie.

This movie is led by Richard Gere and Jacob Elordi who play Fife at different points in his life. Both men are subdued but occasionally captivating in their portrayal of such a complex character. They certainly don’t blow you away, but they do have some tender moments that are hard to deny. The ensemble is rounded out with actors like Uma Thurman and Michael Imperioli who are both serviceable if not memorable.
 
This movie ultimately tackles the line that blurs myth and truth and the ways in which idols are flawed. It tackles how a deeply complicated man can almost by accident become an artistic legend despite his numerous flaws. It explores the legacy of such an artist, especially in the face of a terminal illness. It houses tender truths that could have been explored in a movie twice as long, and while it gets points for its profound themes, its narrative shortcomings prevent this from becoming great.
 
Oh, Canada is a promising entry in Schrader’s 21st century repertoire. It suffers from a messy narrative but excels thanks to its fantastic ideas and profound beliefs about art, legacy, and the inherent flaws of being human. It may not go down as his most memorable late period film, but it’s one that will be remembered for its undeniable potential.
 
Oh, Canada is in theaters December 6.
 
Rating: 3.5/5