As I begin writing this post, we’re into the home stretch of HotDocs 2020 in the now all-so-familiar confines of our homes on screens a lot smaller than our usual cinemas. This brings some advantages including even more time to screen even more docs. But there’s the downside of missing the shared experience, the camaraderie of the line-ups, the quick snacks and occasional meals in favourite nearby restaurants that are as much a part of HotDocs as the movies.
This article continues my reviews of films from the HotDocs 2020 festival. Part I is here.
Festival screenings run to June 24, and I will add reviews here as I work my way through the list. There is no way to see everything, but in these days when we have lots of free time, one can try.
Because the originally planned ten-day festival has run its course, the audience awards have been announced. The full list is on the HotDocs site and some of the top-rated films were already on my “to see” list. Those I have seen so far and reviewed in Part I are:
- There’s No Place Like This Place, Anyplace (Number 5 in top 5 Canadian films, number 15 in top 20)
- The 8th (Number 5 in top 20 films)
The top-rated film was The Walrus and the Whistleblower which aired recently on CBC and is available free on CBC Gem. For what my two cents are worth, I will review it later in the festival.
Several years have passed since I last published any reviews on this site from Toronto’s two main film festivals: TIFF and HotDocs.
This year, HotDocs (which would have already ended by now on its normal April-May schedule), is going completely online. Moreover, there is a more generous window, four weeks, to get through most of the films, and this leads to a less hectic schedule (not to mention the opportunity to see more films).
This article will grow as I add more reviews, and I will add them at the top of this article so that readers can check back and avoid scrolling through stuff they have already seen.
Having purchased an all-you-can-eat pass, and with more screening time, I will be streaming a lot. This is on top of the rich diet of opera, theatre, concerts and recitals that are also available online.
All that said, the online experience is not like actually “being there” in a theatre enjoying and reacting along with tends, or hundreds, or even thousands of people and watching the artists as they react to the audience. Those feelings will come back some day, and there will a big warm reunion over and over.
Meanwhile, one doc from the festival has already screened on the CBC, and I will include a review here.
My rating scale:
- ***** Absolutely the best. Often awarded retroactively once I have seen enough films to get a sense of which one(s) actually deserve this.
- **** Very good, definitely worth seeing.
- *** Good but with some reservations.
- ** Poor, possibly a film with the makings of something better that went astray.
- * Don’t bother
- Unrated: Bad enough that I gave up before the end, or should have.
The Trolley, directed by Stephen Low, Canada, 2017.
World Premiere at HotDocs, Cinesphere (Ontario Place), Saturday, May 5, 2018 at 3:00 pm. Free tickets available at the HotDocs Box Office while they last. A possible extended run has not yet been announced.
An IMAX film about streetcars! A railfan’s dream movie! No longer need we catch glimpses of streetcars in exotic locales making ever so brief cameo appearances. Here is a whole documentary about streetcars and how they were, almost, the lost solution to many transit problems.
If only it were that straightforward.
We open on a sad streetcar boneyard, aged cars piled up for scrap and almost certainly beyond recall even by dedicated restorers. They are relics of an era when the streetcar ruled transit systems, when they were the backbone of transit throughout North America and Europe. A time when some cities would even have fake streetcar lines in souvenir postcards showing what modern, up-to-date towns they hoped to be.
This film seeks to be both educational and a piece of transit advocacy showing how streetcars, or Light Rapid Transit as they are now called to disguise their plebeian past, could be the foundation for a transit renaissance. But The Trolley runs aground, so to speak, by jumping around in time and space without pursuing a single thread to its end.
The first problem is that it is Toronto-centric, and a bit out of date at that. There is lots of footage of our older cars, but almost none of the new Flexitys thanks to the age of the filming. I kept waiting for an elegant shot of Spadina or Queens Quay filled with new cars, but instead saw only a few of the prototypes, including one inexplicably in a distinctly non-Toronto colour scheme.
On the historical side, the film touches the expected high points of the rise and fall of streetcars from early electrification, the development of larger cars like the Peter Witts, the apex (at least for North America) of the PCC, and the decline as streetcars faced competition from subways, but far worse from the automobile which served growing suburbs beyond the reach of worn out systems. The change was helped along by the automotive industry, the subject of a Senate investigation back in the 1970s, but the damage had been done decades earlier.
Certainly, subways have been promoted as a way to get streetcars out of the way of motorists, notably in Toronto, but major networks such as in London and New York co-existed with streetcars for decades. The first subway in North America, in Boston, was for streetcars, and it remains in use as part of the “Green Line”.
Streetcars were central to the economies of cities moving people around in vast numbers before autos were widely affordable and especially in wartime when fuel was scarce. But so were subways in the cities that had them, and it is transit as a whole that deserves the credit. Some systems fared worse than others thanks to warfare, a common problem for all infrastructure. In a particularly tasteless voice-over, there is a picture of a Hiroshima car that is described as “paying the ultimate price”. (With luck or good sense, this may have been edited out since the version I saw at an early April press screening.)
As a long-time documentary viewer at cinemas and on television, there are certain basics I expect from this type of film, notably accuracy. One can advocate, but at least get the facts right, keep the timelines straight, and don’t claim causality where it does not exist.
The film’s bouncing time sequence does not help, and we do not trace the streetcar through one arc from birth, through rise, to near disappearance and then renaissance. That, plus the Toronto focus, sets up a fundamental factual error.
The Trolley implies that the streetcar renaissance began in North America and cites the Flexity as a recent example. In fact, Europe never completely lost its streetcars, despite widespread wartime damage and competition from automobiles. Surviving systems there modernized and showed what could be done both with vehicle design and the evolution of surface transit to provide higher capacity on protected rights-of-way without the cost of subways.
Toronto’s first renaissance began in 1972 with the City’s decision, one in which I was deeply involved as a young transit advocate, to keep its streetcars. At the time, the opposition came from still-strong auto-oriented thinking and the unexpected appearance of a new technology touted by Queens Park as the “missing link” between subways and buses. The politicians and the boffins didn’t want to hear about streetcars or LRT or any suggestion that their pet project was, politely speaking, misguided.
Indeed, the CLRV owes its existence to the demise of the provincial high-tech project and the desperate need of the then-government to produce something transit could actually use. A TTC design for new streetcars from the mid 1960s was dusted off and became, much changed, the CLRV.
This episode is completely absent from The Trolley, and yet it shows the depth of official ignorance of what LRT could do.
In fact, Toronto’s newest cars descend from European designs that have evolved over the decades independently of North American systems, and the LRT renaissance in North America owes its existence to off-the-shelf European cars.
A few systems both in North America and in Europe kept some of their old cars (New Orleans and San Francisco are the best known on our side of the pond), but vintage cars can be found on systems like Lisbon’s and Milan’s. The latter’s Peter Witts date from the 1920s and about 100 (of the original 500) have, with much rebuilding, been kept alive and in regular service. But they are not the only cars in the fleet, contrary to the impression The Trolley might give.
The strongest argument for LRT is the variety of uses this mode can see all the way from complete right-of-way segregation, including underground operation, to mixed traffic like a traditional streetcar. The fight is always over taking road space away from cars, a battle that is more successful in cities where public transit has an established presence.
There certainly was a streetcar renaissance in North America, and Toronto’s 1972 decision started the process which saw new systems in Edmonton and Calgary, as well as San Diego. Other lines followed, although an attitude that “only streetcars mean your city is up-to-date” from a century before led to rather odd decisions about where some new lines were built.
The Trolley ends with footage from the Easter Parade in The Beach a few years back, and plays the event as a celebration of the streetcar rather than the local parade it has always been. This, rather than a view of modern Toronto streetcars, is an odd place to end the story.
Is The Trolley worth seeing? Yes, if only for the glory of views from many cities splashed in high-definition across an IMAX screen. However, as advocacy and education, The Trolley falls short thanks to bad research and a confused story line.
Illustrations courtesy of The Trolley.
The Toronto International Film Festival was underway once again in early September, and transit matters on this site went into eclipse for a week or so. Here is a capsule view of the films I saw during the first half of the fest:
- Only Lovers Left Alive
- Le Week-End
- Fading Gigolo
- The Unknown Known
- The Selfish Giant
- The Lunchbox
- The Double
- The Invisible Woman
At Theatre Passe Muraille from December 4-8, 2012
The Queen car, known since the advent of the “new” streetcars by its route number 501, is almost 25km from Long Branch to Neville. It runs through many neighbourhoods each with its own history, quirks and stories. Some of these are very much part of the evolving city, others exist only in the memory of those who lived in Toronto through the gains and losses of decades.
Justin Many Fingers, Bob Nasmith and Donna-Michelle St. Bernard spent half a year collecting stories from their travels on the 501. Some are humourous events we will all recognize (a teacher shepherding a class of children), some are vignettes from a long-vanished youth (bathing cars to Sunnyside), some are the trying and at times dangerous effects of service riders can’t count on when they need it.
Each of the three actors/creators brings their own style and background. Many Fingers is a First Nations actor/dancer from Alberta, and physical movement is part of his stories. St. Bernard’s work in spoken word and hip-hop translate her experiences on the 501 to song. Nasmith, long associated with Theatre Passe Muraille, is a story-teller. He provides the thread linking episodes as we travel from Long Branch far in the west to Neville Loop in the now so-trendy Beach.
The three styles don’t completely gel into one work, but that’s the nature of Toronto — many people whose lives reflect different origins and experiences of the city. There is no attempt at plot here beyond the journey across town as, in cinema terms, we fade in and out on each passing neighbourhood.
This is a Backspace production at TPM, and the set is rudimentary — four TTC seats and a pole — all the better because we are left to conjure each scene as it is told without a lot of stage business to get in the way. That’s the magic of storytelling — we each bring our own knowledge of Queen Street, chuckle at familiar sights in our mind’s eye, and share in the pain of the inevitable short turn.
I saw the November 29th performance, a preview, and this bodes well for the opening on December 4.
The 501 — Toronto in Transit is part of TPM’s fall 2012 season Theatre Beyond Walls with plays by and about the community around the theatre. More information is available at the TPM website.
Films reviewed here:
- Mea Maxima Culpa: Silence in the House of God
- When Day Breaks
- Hyde Park on Hudson
- A Few Hours of Spring
- Great Expectations
- A Late Quartet
- The Suicide Shop
The Toronto Film Festival has been back for another year, and I was distracted from transit affairs enough to be watching movies and writing reviews rather than the usual content on this site.
Reviews appear here in the order I screened films.
Included in this batch are:
- Festival promos and observations
- Rust and Bone
- The Gatekeepers
- Stories We Tell
- Frances Ha
- Anna Karenina
- Seven Psychopaths
- A Liar’s Autobiography — The Untrue Story of Monty Python’s Graham Chapman
- Cloud Atlas
September brings the Toronto International Film Festival, a period when some of my readers complain that I am preoccupied with movies, and a few think I may miss some skulduggery in transit politics.
Last year’s reviews (and indeed my spring batch from hotdocs) were incomplete for personal reasons. I may push short versions out the door at some point, or just leave that to history. The films that deserved to vanish without a trace have already done so, and those that deserved accolades have, mostly, seen them without help from me. I will try to do better this year.
- Pina *****
- Le Havre ***
- Urbanized **½
- Keyhole **½
- The Love We Make ***
- Land of Oblivion ***
- Barrymore ****
- Alois Nebel ***½
This covers days 1 to 3 of the festival.
- Take This Waltz **½
- Elles **
- Anonymous ***
- Albert Nobbs ***½
- In Darkness ***
- Lena **
- The Oranges *
- The Eye of the Storm ***½
- Rose ***
- Pink Ribbons, Inc. **
Days 4 to 6 of the festival.