Weird is certainly a word that could be used to describe this film. The story starts off fairly innocuously. We are introduced to Guy Maddin, a star hockey player for the Winnipeg Maroons, whose father advises him to visit his dying mother. Shortly after he discovers that his girlfriend Veronica is pregnant, and chooses to abandon his mother in favour of taking her for an illegal abortion at a salon that also functions as a bordello.
While his girlfriend lies pained and undergoing surgery, Guy lays eyes on the beautiful Meta. Instantly smitten, he forgets about Veronica and leaves with her. Meta may be beautiful, but she is also overwhelmed by past trauma and a hankering for revenge. From here Guy's life spirals out of control in a story full of absurdity that seems to be deliberately as surreal as a fever dream.
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| Amy Stewart as Veronica |
As an ode to silent cinema, the film is utterly terrific. In its aesthetic it mimics remarkably the silent films of the 1910s-20s. The harsh lighting makes each scene at once intensely bright and deeply shadowed, highlighting the faces and expressions of the characters above all else. The performances by the actors contain all of the exuberance and over-the-top movement that is both a trademark of and necessity for a silent film.
Amy Stewart, who plays Veronica, especially embodies the spirit of a true silent actor. Her hair has a distinct 1920s look and her dark makeup both accentuates her expressive face and evokes thoughts of influential German Expressionist film. Her expressiveness is like that of Lillian Gish, who became famous as an actor in silent cinema. Similarly to her, Stewart would look completely at home if she was transplanted into an old D.W Griffith film.
Narrative-wise, the film definitely runs on shock factor. After Guy abandons Veronica for Meta, he is thrown into a world of sex, vengeance, and murder. The most graphic shots (usually of Meta's breasts) are lingered on and repeated in a way that makes them seem almost confrontational.
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| Melissa Dionisio as Meta |
While there is an overall cohesive narrative, a lot of the events of the film come completely out of left field. This is what gives it its surreal, dream-like quality. Strange events happen so suddenly and unexpectedly that they could have been written as a stream of consciousness, reflecting the director's thoughts and feelings in an automatic, instinctual way. There certainly seems to be a personal connection between Guy Maddin and Cowards Bend the Knee, as it is the first film in a trilogy featuring protagonists named after the director.
Cowards Bend the Knee is certainly a very niche film that will not appeal to everyone. If you are a fan of silent cinema, surrealism, sex, and violence, then this is a film that you will find interesting.
The film opens the Tales From Winnipeg event on Friday 28th August, with a live score by Ela Orleans and introduction from Guy Maddin. The season is hosted by Glasgow-based exhibitors Matchbox Cineclub and celebrates the work of the Winnipeg Film Group. Find out more about the event here.