In 1957, in the Faubourg à m’lasse in Montreal, young Michel Paquette spends all his free time with Mr. Saint-Amour, a poetry publisher. But then the latter’s latest publication, an essay advocating secularism in education, raises the ire of Vicar Cotnoir. The man of the Church is all the more incensed because André Rochette, a neighborhood teacher and a poet in his spare time, has agreed to have the said pamphlet distributed in his class. However, it is young Michel, an idealist who is not afraid to challenge religious authority, who will become the main target of the vile Cotnoir. With AbabouinéAndré Forcier once again evokes the Quebec of yesterday, in his own personal way, between poetry, humor and anger.
In fact, the filmmaker clearly had some scores to settle with the clergy, which he puts to the test, or rather to the mincer – anyone who sees the film will understand.
Produced by Linda Pinet, wife and long-time collaborator of André Forcier, the film was co-written by the filmmaker, his sons Renaud Pinet Forcier and François P. Forcier, Laurie Perron (the latter’s partner) and friend Jean Boileau, co-writer of the previous film. The Forgotten Flowers. Smirk, Ababouiné summons a largely fantasized Quebec, and nevertheless authentic through a host of selected details.
In this, this 17e feature film is a continuation of I remember and ofKiss me like you love meThe first dealt with union breakthroughs in Abitibi in 1949, while the second took place in Montreal in 1940, against the backdrop of looming conscription. Ababouiné enriches this historical cycle.
By setting the action in 1957, Forcier situates it just before the advent of the Quiet Revolution. It is during this key period of questioning the Church’s control over the existence of the “common people”, to use the expression of the vicar Cotnoir (Éric Bruneau, very generous in his abandonment to detestability), that Michel (Rémi Brideau, indomitable as can be) and his gang will emancipate themselves for good.
But it will not be without its problems. In this regard, Forcier goes for two tough but necessary scenes, which he films with just the right amount of directness and restraint. Let’s say no more.
Unusual sequences
Besides Michel, the film focuses on his classmate, Angèle (Maïla Valentir, very convincing in what turns out to be the most complex performance), a holy water frog who will become disillusioned, as well as on “Le Matou”, a teenage cat-man (Miguel Bédard). Who has seen Kalamazoo and his mermaid, or even The Countess of Baton Rouge and his cyclops, will hardly bat an eyelid: Forcier’s cinematic universe rhymes with magical realism.
Moreover, the character of the Tomcat is far from being just a gratuitous eccentricity: his hairy, clawed hands will take on a number of crucial narrative importance, notably during the climb of the dome of the Saint-Joseph oratory on a full moon night.
In this respect, Forcier has lost none of his ability to imagine unusual, and therefore memorable, sequences.
We also think of this homoerotic pedicure that the vicar Cotnoir gives to Cardinal Madore (Rémy Girard, sa-vou-reux)… The director ofA made-up story has kept its naughty side intact.
Originality of the land
The dialogues are often laughable, with puns and allusions to this or that cultural reference. All delivered by a cast that deliberately uses a vaguely “radio-Canadian” diction typical of the 1950s and 1960s.
Like certain wacky developments and other fanciful discoveries (these Zouaves presented as a gang of criminal bikers!), this linguistic bias contributes to anchoring the film in a stylized past.
The copious and very enthusiastic cast, which also includes Martin Dubreuil, Mylène Mackay, Pascale Montpetit, Gaston Lepage, Réal Bossé, Donald Pilon, Pierre-Luc Brillant and Émile Schneider, clearly understood this, playing in tune.
Ultimately, no doubt film buffs who are already won over to the filmmaker’s universe – and style – (which is my case) will appreciate the film more. One must accept the particularities of the proposition, but from said particularities comes a fundamental originality. In short, this is not reality: this is Forcier.