Socioeconomics and Anti-Sovereignist Sentiment in Les bons débarras :: Film Movies Films Essays

Socio scotchs and Anti-Sovereignist design in Les bons dbarrasConsidering the whirlpool of sovereignist sentiment in which late 1970s Qubec politics and society were immersed, it seems most inevitable that Qubec cinema emerging during that time should be examined for some register of nationalistic ideology. Les bons dbarras, directed by Francis Mankiewicz and based on a screenplay by Qubcois novelist Rjean Ducharme, was written in 1977, exclusively first saw theatrical release in 1980. Arriving as it did further as Ren Lvesques Parti Qubcois ascended to power on its augur to hold a referendum on sovereignty-association, Les bons dbarras is as likely a target as any for a nationalist-perspective analysis. The film demands minute attending for two additional, marginally related reasons. First, it is considered exceptional as one of muchover a handful of well received Qubec films produced during the so-called tax nurse era. Second, it garnered upkeep nationally, reversing a trend which had seen Canadas film awards and even censorious attention directed traditionally to poor-quality, big-budget, English-language productions financed by the tax- shelter (Lamphier, 1981). Cumulatively, these factors make Les bons dbarras an bewitching film with which to argue larger issues of Canada-Qubec relations and ideas of national identity. Ian Lockerbie (1988) endeavours to construct fitting such(prenominal)(prenominal) an argument. Lockerbie suggests that despite the lack of any direct reference to nationalist politics in Les bons dbarras, the film presents turn up of a corporate identity which penetrates deeper than consciously revealed symbolism, and which manifests itself in individual identities and anxieties (1988 122). The film, Lockerbie claims, offers within the cathartic license of individual characters an implicit manifestation of Qubec sovereignism. By basing his analysis on such deeply buried subtext, however, I think Lockerbie ignores the fi lms more obvious engagement with contemporary kind and sparing conditions. Granted, one of necessity risks a certain degree of impudence whenever venturing to assign allegorical significance to any film as Lockerbie has done. But I would suggest that if Les bons dbarras does in fact propose any commentary on Qubec nationalism, it is non sovereignist at all, as Lockerbie argues, nonwithstanding rather offers an admonitory refusal of Qubec ambitions for independence. The goals of the Qubec sovereignism are traditionally idealized, in part, as a shift from the strength historically displace from the domestic, familial community toward strength to be gained in achieving complaisant and economic self-sufficiency within Canada. Les bons dbarras, however, presents a community whose attempts to attain social integrity and economic self-sufficiency have utterly failed, and whose strength moldiness be found besides in retreat to the domestic sphere.Socioeconomics and Anti-Sovereigni st Sentiment in Les bons dbarras Film Movies Films EssaysSocioeconomics and Anti-Sovereignist Sentiment in Les bons dbarrasConsidering the vortex of sovereignist sentiment in which late 1970s Qubec politics and society were immersed, it seems or so inevitable that Qubec cinema emerging during that time should be examined for some evidence of nationalist ideology. Les bons dbarras, directed by Francis Mankiewicz and based on a screenplay by Qubcois novelist Rjean Ducharme, was written in 1977, but first saw theatrical release in 1980. Arriving as it did unsloped as Ren Lvesques Parti Qubcois ascended to power on its see to hold a referendum on sovereignty-association, Les bons dbarras is as likely a target as any for a nationalist-perspective analysis. The film demands critical attention for two additional, marginally related reasons. First, it is considered exceptional as one of only a handful of well received Qubec films produced during the so-called tax shelter era. Second, it garnered attention nationally, reversing a trend which had seen Canadas film awards and even critical attention directed traditionally to poor-quality, big-budget, English-language productions financed by the tax-shelter (Lamphier, 1981). Cumulatively, these factors make Les bons dbarras an attractive(a) film with which to argue larger issues of Canada-Qubec relations and ideas of national identity. Ian Lockerbie (1988) endeavours to construct clean such an argument. Lockerbie suggests that despite the lack of any direct reference to nationalist politics in Les bons dbarras, the film presents evidence of a corporate identity which penetrates deeper than consciously revealed symbolism, and which manifests itself in individual identities and anxieties (1988 122). The film, Lockerbie claims, offers within the cathartic emancipation of individual characters an implicit manifestation of Qubec sovereignism. By basing his analysis on such deeply buried subtext, however, I think Locke rbie ignores the films more obvious engagement with contemporary social and economic conditions. Granted, one inevitably risks a certain degree of impudence whenever venturing to assign allegorical import to any film as Lockerbie has done. But I would suggest that if Les bons dbarras does in fact propose any commentary on Qubec nationalism, it is not sovereignist at all, as Lockerbie argues, but rather offers an admonitory refusal of Qubec ambitions for independence. The goals of the Qubec sovereignism are traditionally idealized, in part, as a shift from the strength historically force from the domestic, familial community toward strength to be gained in achieving social and economic self-sufficiency within Canada. Les bons dbarras, however, presents a community whose attempts to attain social integrity and economic self-sufficiency have utterly failed, and whose strength must be found only in retreat to the domestic sphere.