Denys Arcand's The Barbarian Invasions
Remy Girard, Stephane Rousseau, Dorothee Berryman
Mar 10, 2009
Popular opinion supports the notion that the first film generally misses the mark whereas the second is a deft improvement. Though most of the same characters show up in Les Invasions Barbares (it's French Canadian), the story is set in much different circumstances. It is poignant, honest and makes a great holiday film—perhaps more New Years than Christmas, as it will no doubt pull a few tears.
The Return of Characters From The Decline of the American Empire
The basic premise revolves around Remy’s (Remy Girard) declining health and impending death. Enter the son, Sebastien (Stephane Rousseau) with whom he has a tumultuous relationship but who arrives at the behest of his mother. With the magic of money (this could have been a much bleaker film had Sebastien’s job not been the financial blossom it is), Sebastien is able to get his father a better room in addition to pulling multiple other strings along the way to make things easier. This would include the paid gratitude of Remy’s former students as well as an infinite supply of heroine (to be explained momentarily).
Marie-José Croze, Scene Stealer
The characters are certainly interesting enough—the interaction between anyone and Nathalie (Marie-José Croze)--the heroine dealer who used to be a childhood friend--are always the most engaging. Remy's pain is no longer manageable, and Sebastien must seek out heroine to ease his father's pain (which the hospital helps administer under the radar--this is clearly not set in America). Nathalie is the “unreliable junkie” but even in her short on-screen time she is not only a truly captivating character, but someone easier to root for than some of the other flawed characters. It is clearly her time with Remy that leads her (after a far less endearing scene bordering on overdose) to attempt to kick her habit.
The Barbarian Generation
The characters, and how they play into the film’s journey, make for an enjoyable progression, beginning to end—regardless of knowing the outcome. The ending is a tad drawn out, but less so than falsely sentimental American drudgery, and with far more realistic characters. The idea that the younger generation is "barbaric" may be largely how Remy feels, but no one in this film--Remy especially--is free from mistakes and flaws. Refreshingly, no one here is the bad guy, and it is here that the film finds a truly realistic and touching foundation. Remy has, despite his huge mistakes (being a terrible husband and father), made his best efforts to live well, and now with his best friends around him, he will try to die as happily as he can.
This film won the 2003 Academy Award for Best Foreign Film, and deservedly so. The film expertly pairs contrasting characters, conflicting ideas and makes no effort to resolve fundamental differences. It merely offers a somewhat peaceful introspective, with plenty to think about afterwards.
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