johnnyboyz Emile is a Canadian independent film which, unlike some of its more recent American counterparts, isn't afraid of exploring bare-boned, delicate territory without either constructing portraits of its characters as total freaks or necessarily feeling the need to deceptively 'mainstreamise' its overall content with generally offbeat material and off-colour, idiosyncratic dialogues. Sure, they touch on some rather delicate topics, ranging from unanticipated pregnancy to various mental illnesses to those fond of sadomasochism, but rarely do we feel as if the characters in projects such as Juno or Secretary actually exist – they are fanciful excursions into realms populated by those we are wary of rather than sympathetic of, and more often than not carry with them excess levels of vanity. In Carl Bessai's 2004 film Emile, we feel as if we could live down the street from them; his film is one of which explores a man and the results that came about after his decision, during young-adulthood, to put himself before others, regardless of the riches that decision had him end up with, before returning to the locale of his young-adulthood years and piecing together the second generation of his family's situation that has been brought about because of this.The film covers that of the titular Emile, played extraordinarily by British actor Ian McKellen; a performance full of nuance and delicacy, a performance seemingly lost amidst the bigger budgeted, larger distributed Lord of the Rings and X-Men sequels of the same year in which he additionally starred, but a performance fraught with authenticity and affluence as he comes to integrate with varying supporting acts of differing ages; genders and apparent class backgrounds. Indeed, the film will open on the England based, but Canadian born, author of later on in years Emile; the aftermath of a speech at a large function seeing him very much the centre of attention and seemingly at the peak of his proverbial academia-imbued game. The camera decides to track in on Emile, in a wavy and distorted manner, as if cause for concern was required amidst the rapturous applause and success story that is this man: the film's eventual framework alluded to as here, as the bearing in on the surface qualities of a man and into something more troubled, plays out.Through one means or another, Emile winds up back in Canada again; the receiving of an honorary degree from an institute in his home province of Saskatchewan the catalyst from the outside forcing him back to his roots, allowing apparent issue and such to be buried. It's here the character of Nadia, Emile's niece, enters proceedings; someone brought to life by that of Canadian actress Deborah Kara Unger, whose general facial expression in whatever film she's in always seems to epitomise that of anguish or one that is wrought with the weight of the world. She has certain things on her shoulders here, the woman clearly outspoken and rather vocal – refusing first impressions on that of anyone; her daughter Maria undergoing, what we presume to be from an early exchange with her mother, a rather strict upbringing as she comes to terms with her own life situation of being forced into moving states to get away from an ex-husband.It is a situation, the escaping of one's family-imbued problems and leaving on negative terms as trouble brews within a family unit, that echoes that of Emile's; his decision to initially leave Canada being what it is, when the establishment of his back-story to do with his two brothers is what it is. Out of these beginnings, it is made obvious that Emile and Nadia's friendly connection might be read into as being born more out of other items than merely that of quaint family ties. Being relocated in Canada for this brief period allows Emile to hark back to the past; specifically, the ability to look back at his time as a young man with his thoughtful and more humane brother Freddy (Runyan) and his bigger, more primitive sibling Carl (Martin), whose aggression and such on the farm that they're based spawns degrees of conflict. Emile's consequent leaving of this aforementioned unit to study in England, usually the land of academia in these instances, leads him to be the man he is now but seemingly at the cost of a close tie with Freddy, whose own promise leads to its own respective conclusion. Bessai weaves the back-story to that of what happened to Emile in with the present strand wonderfully well; the execution, as specific analeptic manipulations play out furthermore within the flashbacks, are handled with such competence and guile, that it is difficult not to become so involved. Indeed, the results are naturalised; involving, brooding and really rather good.

wonderdawg The title character, a retired professor played by Sir Ian McKellen, must come to terms with his past when he returns to Canada for a visit. Emile grew up with two brothers on a farm in Saskatchewan. He left to study in Britain 40 years earlier and never looked back. Until now. Invited to Victoria (British Columbia) to accept an honorary degree from UVic, he stays at the home of his troubled niece, Nadia (Deborah Kara Unger). Recently divorced and living with her rebellious ten year old daughter, Maria (Theo Crane), Nadia still smolders with resentment because Uncle Emile failed to adopt her following the sudden death of her parents. She spent her girlhood in an orphanage and the experience has left a permanent scar on her psyche. "You seem like a pretty nice guy and I'm going to try to like you. But I don't trust people and you did that to me," she tells him quietly. "Now I'm sure you had your reasons but I just want you to know there was a little girl waiting for you a long time ago. And you left her. Waiting."That's a haunting image to deal with but Emile also has to confront his feelings of guilt over deserting his two brothers, now deceased, both of whom we meet in flashback scenes: Freddy (Chris William Smith), fragile, artistic, a bit of a dreamer, slowly withering under cruel, insensitive treatment at the hands of older brother, Carl (Tygh Runyan). Writer/director Carl Bessai (Lola) has McKellen as Emile relive these memories as the old man he is rather than cast an actor to play a younger version of the character in flashback scenes. "I think that's important because the past for him is subjective," Bessai explains on the DVD commentary track. "It is a memory that is infused with who he is right now." Although this may prove confusing for some viewers I thought it was a bold move and well presented visually through artful use of transition shots and doctored cinematography. The film makes effective use of Victoria locations to add atmosphere, mood and emotional context to key scenes: Emile and Maria chatting on a bench in the Inner Harbour with the Empress Hotel in the background; a blustery walk along Dallas Road; Emile receiving his honorary degree at University of Victoria's Convocation Hall (with 200 extras in attendance.) McKellen turns in a masterful performance, Ms. Unger (Crash) is hypnotically watchable as always and the complex emotional dynamic between their two characters is well worked out. Young Miss Crane, in only her second film, displays a wonderfully natural screen presence. Fans of traditional Hollywood dramas should be warned. As Bessai explains on the DVD, this is not a movie about big dramatic moments, "it's the little things that create the tensions between people, that make them recognizably human." Works for me.

marysia I liked the movie a lot more than I expected. Not that I thought it was going to be a bad movie, but I had no real concept of what I'd think of it so really enjoying it was a nice surprise. We had heard it was slow, but I actually found it to be quite gripping and as such it didn't appear slow at all. At first it was a little distracting watching the movie with Ian McKellen two rows behind us and a couple of seats along, but my focus settled down as we got further in. Not particularly helped by the antarctic blasts of cold coming from the air conditioning right in front of me. I'm lucky I didn't die of hypothermia before the end of the evening. The movie was much more easily identified with than you might expect, being a movie about a 65 year old man and me being anything but. The theme was something I think can get to anyone and what really got me was the story of Emile leaving his two brothers behind and what happened to them subsequently. I think anyone who moves away from their family can understand the need to separate and how easy it can be to let that separation become too vast. As someone who has never lost a close member of my family, and lives in vague terror of the day it finally happens (as it must do unless I'm hit by a bus in the near future), I found the movie very touching and even teared up a couple of times. On a less precise scale, Emile's flaw was that he ran away from responsibility and difficulty and as a result never really lived his life, as far as we can tell. It's always easy to tell ourselves that what we're doing is for the best, but often that can be an excuse for not doing something that seems too hard.The only flaw I would pick with the movie is that occasionally the music was a little too much. Aside from that the acting was excellent, the script was excellent and the shooting was beautifully done. I think a lot more people will find something to associate with in this movie than might think they would. Have you ever moved away from home? Have you ever not kept in touch when you knew you should? Have you ever been hurt by or betrayed a family member?

Tom Murray Emile is one of the best Canadian films that I have ever seen. Ian McKellen is superb as Emile, a loner who abandoned his family many years ago and finds himself visiting his few remaining relatives.Emile lived with his two brothers on a Saskatchewan farm. Karl, the eldest, was an insensitive controller. Emile, the educated one, left to be a professor in England, leaving Karl and the youngest, depressed brother on their own, with tragic consequences. Karl married and had a daughter, Nadia (Deborah Kara Unger). When Karl and his wife died in an accident, Emile was sent for to get his niece, Maria (Theo Crane), who was in an orphanage. Emile returned to look into business about the farm but made up an excuse why he could not take the niece back with him. These details from the past all appear in flashbacks, as seen in Emile's own mind. He remembers everyone as he last saw them: his brothers as they were when he left them but himself as he is now. Remembrances of things that he never witnessed are all portrayed as he imagined them or as he would like to imagine them.In the present, his Alma Mater, a university in Victoria B.C. is bestowing an honorary degree upon him. His niece, Nadia, invites him to stay with her and her daughter, Maria. Everything is in turmoil; Nadia has just left her husband and taken Maria with her. They have just moved into a new home and Maria is quite distraught and taciturn; everything in her life has just been changed. Now, a great uncle, whom she has never seen, appears. At first Maria is aloof but soon they become the best of friends and all relationships reconfigure.Deborah Kara Unger and Theo Crane both played their roles convincingly. McKellen's performance could very well be his best ever. His portrayal of a personality in flux is subtle and clear. He must come to terms with the suffering that his decisions have caused others and whether to stay a loner or become involved.