Tuesday, May 16, 2017
I almost gave up on the brilliant new documentary Sonita --the first 15 minutes are hard going as we are introduced to an introverted Afghan refugee struggling to survive in Iran.
But I stuck with it and so should you --this profile touches most of the emotional bases and emerges as a must see profile of a young girl determined to survive in a male dominated culture.
You can catch it on TVOntario Wednesday May 18 at 9 p.m. --it's a North American premiere.
What an incredible character Sonita turns out to be.
If she had her way Michael Jackson would be her father and she'd be a rapper commenting on the violence in her society and the way women are disrespected.
We first see Sonita performing for her mates in a Tehran shelter --they are refugees from the civil war in Afghanistan.
The pert teen was originally into rock music but has turned to rap because it allows her to comment on the ways society has turned against her generation.
And we get to know her and love her for her courage.
Director Rokhsareh Ghaem Maghami bonds with her 18-year old subject and builds up a portrait of survival and identity in a region of the world perpetually at war.
This film took three years of shooting as we see the plight of Afghan refugee in Iranian society.
In fact the 40-year old Maghami became completely involved in the life and goals of this courageous teen to the point she put up $2,000 to ensure Sonita's future.
You see under Afghan law Sonita is expected to return home and marry someone she does not even know so her dowry of $9,000 can go to her brother so he can purchase a wife of his own.
At the beginning it is taken for granted that Sonita's story will not have a happy ending --everything is so stacked against her.
A refugee, she lacks a passport and it seems a music scholarship in the U.S. will be out of her reach.
The director has said that she only interviewed Sonita as a favor to a cousin who worked at a hostel for child laborers.
At first Sonita was sullen and uncommunicative but there was something about her inner strength that was oddly appealing.
Sonita wanted to be a rapper although Iranian society bans female singers.
Sonita is but one of three million Afghan refugees struggling to survive in an often hostile environment.
Only 18 per cent of Afghan women are literate compared to 45 per cent of men, The girls marry as soon as possible as protection.
Sonita's journey becomes our journey. We see her blossom under tutelage and her songs are courageous laments about the problems of her people.
From timidity she evolves to bold rapper and the "happy ending" is wondrous to behold.
So Sonita becomes must see TV.
SONITA PREMIERES ON TVONTARIO WEDNESDAY MAY 17 AT 9 P.M.
MY RATING: ****.
Friday, May 12, 2017
It's that time of the year for the ailing U.S. networks to cancel all the series which they figure aren't working.
FOX surprised us all by dumping Sleepy Hollow after four seasons--the wonderful period drama with Tom Mison as Ichabod Crane lost a quarter of its audience this season.
Just as surprising was the axing of the police procedural Rosewood after a mere two seasons--it lost fully half its first year viewers.
It was three strikes and you're out for Pitch about the first female MLB player --trouble was sports fans simply were not interested.
The Live Action CGI Son Of Zorn starring Jason Sudekis lost fully half its fans over its first season and is out.
Also cancelled: Making History and APB.
I was surprised ABC dumped Last Man Standing but the web says the Tim Allen starrer had lost its punch after six seasons.
After only five episodes ABC pulled Time After Time with Freddie Stroman as H.G. Wells.
ABC also canned Conviction with Hayley Atwell as a wrongly convicted former First Daughter.
ABC also canned American Crime with Felicity Huffman and Regina King after three years.
Also gone: Secrets And Lies, Imaginary Mary, Dr. Ken, The Catch and The Real O'Neals.
NBC's time travel drama Timeless was dumped after a mere season.
Emerald City set in Oz expired after one year. Powerless all about superheroes isn't coming back. And the spinoff The Blacklist: Redemption lasted but a season.
CW pulled Frequency as well as No Tomorrow.
CBS axed Doubt with Katherine Heigl after only two episodes.
CBS's medical drama Pure Genius with Dermot Mulroney is also out.
Disney cancelled Girl Meets World-the spinoff of Boy Meets World--after three years.
That's all I know but it's a pretty damning indictment of the way old form network TV is slowly but surely unraveling.
Friday, May 5, 2017
From Elwy Yost to Frederick Wiseman --that's the saga of TVOntartio on Saturday night.
What once was TVO's old movies nights with Elwy Yost now becomes the place to watch Wiseman's very long but completely affecting take on a choice New York city neighborhood in In Jackson Heights.
You can check it out Saturday night at 9 on TVO.
My advice is to make a big pot of tea and have a tray of sandwiches on a side table because Wiseman's films are very long --and very compelling.
Made in 2015 On Jackson Heights makes its world TV premiere which is certainly a coup,
The Wiseman style is present here --there are no voiceovers and scenes stay lovingly focused on the people being presented without any resort to editing or even close-ups.
I always find it difficult to get into a Wiseman film --the movement is so very slow but the longer I watch the more mesmerized I become.
I get the feeling here that I am right there in the room with these various citizens who are always treated so very reverently.
Here Wiseman focuses on a peoples' profile of a distinct neighborhood of New York city that is undergoing tremendous changes.
The film starts and ends with a discussion of how a gay man Julio Rivera was brutally murdered in 1990.
From this flow a series of vignettes showing how diverse cultures mix so freely --the area seems ripe for gentrification which is opposed by many residents who fear their relaxed way of live us being threatened.
Some highlights: the Muslim prayer meeting, LGBT members forming a boycott against ugly discriminatory projects, elderly women in a knitting bee talking about such favorite movie stars as Tyrone power, going out of business in a small shopping mall slated for demolition, a tattoo parlor's clientele, a delightful seniors resident telling us "I was happy until I was 98.", how chickens are decapitated before being broiled, a beauty parlor filled with older women, a belly dancing school, Tibetan monks chanting.
The underlying fear is that Jackson Heights is under threat as big box stores move in and destroy its very bohemian cultural roots.
I think my favorite scene is a driving school for potential taxi drivers as various cultural forces meet and clash..
Wiseman treats all his subjects reverentially --the way he treats older people made this film for me such as the dinner scene for an icon of the neighborhood who had spent his time helping others.
The movie has a poetical quality --it celebrates all kinds of residents without making any judgmental calls.
Wiseman gives as much time to all his people profiled . You see Wiseman cares about everyone, salutes their individuality, and shows us what living in Jackson Heights is all about.
And the result is a minor masterpiece of humanism.
IN JACKSON HEIGHTS PREMIERES ON TVONTARIO SATURDAY MAY 6 AT 9 P.M.
MY RATING: ****.
Thursday, April 13, 2017
Had a perfect time at lunch today on the Danforth with three great friends: a veteran TV actress, a publicist I've known since 1970 and a TV producer with dozens of critics.
Here are highlights of our chatter:
ME: The big new CBC TV offering, yet another remake of Anne Of Green Gables, was pretty good although darkish compared with previous versions --the best one remains the one made with Sullivan Films starring Megan Follows.
PUBLICIST: My CBC sources say the network was taken aback by the low ratings. I think they wanted 2 million viewers but had to settle for over 800,000 at least in the overnights I've seem. It may be just a case of a story being overly familiar.
ACTRESS: The irony at CBC this year has been the strong showing of such long running series as Heartland with the poor results of some of the new shows. I mean Rick Mercer routinely hovers just under 900,000 a week.
PRODUCER: Most in my position will not mount a new drama series for Canadian TV until they get an American producer and a U.S. sale. Having said that I still enjoy Saving Hope which ends this season --cheers to CTV for keeping it going after NBC quickly cancelled it.
ACTRESS: U.S. production in T.O. is very high right now because of the low standing of the Canadian dollar. But it never will revert to the glory days of the Nineties when it seemed that every other U.S. miniseries and TV movie was being shot here. That's because American TV movies are no longer made in such huge amounts.
ME: I liked Kim's Convenience which got very big audiences. I's say that's due to Ivan Fecan the executive producer who ran CTV for years and before that reinvigorated production at CBC.
ACTRESS: When Kevin O'Leary says he wants a downsized CBC where only news would be left I shuddered. But as ratings continue to fall I simply wonder how long any federal government can pour such funds into the CBC entertainment arm.
ME: When I started off in 1970 as TV critic at The Hamilton Spectator CBC's dictionary definition of a hit was 1.5 million for a series and 2 million for a TV movie or miniseries like Laurier. In those days CBC made its own dramas and comedies.
ACTRESS: There is no high arts left on any Canadian TV network. Adrienne Clarkson Presents was CBC's last desperate attempt at making operas and ballets. It's too expensive these days. I remember bumping into Norman Campbell --he still had a tiny office at CBC but never could produce anything in the Norman Campbell Theater on the top floor of CBC's downtown Toronto headquarters because there simply was no money.
ME: I once asked CTV President Murray Chercover why CTV never had a fall launch and he said "Our big entertainment shows are Littlest Hobo and Stars On Ice --you want me to publicize these?" But I did --I went on those sets every year and also I was on Half The George Kirby Comedy Hour and The Pat Paulsen Show both up at CFTO.
PUBLICIST: I remember when I first met you Jim in 1971 --Ed Sullivan was giving a press conference at CBC's "Kremlin" headquarters. He was taping a Christmas special to run on CBC which had Canadian rights but he had to tape it up at CFTO because CBC's facilities were so antiquated.
PRODUCER: My favorite Canadian show right now is Schitt's Creek. It's a perfectly made comedy gem.
ME: I told my CBC contacts the network should revive Front Page Challenge with a new cast of young names. I'm saying this only because the last FPC contestant Betty Kennedy just passed. And CTV should revive Headline Hunters --I visited that set in 1971 when Charles Templeton was the moderator.
ACTRESS: In the late Seventies CBC-TV had a similar revenue problem to today so they took old ballets and operas and repackaged the lot as a Sunday afternoon series called Rearview Mirror. Veronica Tennant was the charming hostess and ratings were sturdy. They should do something like that again to retain the loyalty of the artsy crowd.
ME: Just before HM Video folded I asked the store manager on Yonge Street which Canadian series not yet on DVD he was frequently asked about . He mention the CTV hit ENG, CBC's Beachcombers and Tommy Hunter as being on the top of the list
ACTRESS: My young nieces and nephews never watch conventional TV. They group together and watch everything on their devices. So maybe all TV is going to change?
ME: And my final question: Who's footing this bill?
Tuesday, April 11, 2017
The shock of the truth.
It's all there in the brilliant new documentary My First 150 Days premiering on TVOntario Wednesday April 12 at 9 p.m.
Because "Reality TV" these days is all the rage but it's actually Un-Reality TV where forced situations and staged moments predominate.
Not so with My First 150 Days which documents the highs and lows of a new family arriving at Pearson Airport to lives they never quite anticipated.
The 58-minute documentary was commissioned by TVO to mark Canada's 150th year as a nation and looks at the cultural adjustments made by a family struggling to learn new ways in a new land.
Producers Stuart Henderson and Romilla Karnick chose the family, explains director Diana Dai, before she was selected to direct.
I ask if the film was being commissioned today would it have focused on Syrian immigrants?
"No!" says Dai on the phone. "Because it is not about refugees but the larger world of immigrants. No doubt I was asked to direct because I, too, am an immigrant. We connected when I met them at the airport. I knew what they were going through, I surely did."
Dai's accomplished group profile is filled with small moments of recognition not melodramatic staged events.
"Of course I didn't know what we all were getting into," she explains. "It was after all a film about them and not me."
"I filmed about every five days. It was very early into this when I learned the children of the mother, Melona who was already in Canada were having great difficulties. They finally said they did not want to be filmed anymore."
Canada just wasn't what they thought it would be. They'd journeyed from rural Philippines to an urban Canadian environment. They scarcely knew their mother who had preceded them eight years earlier.
Dai expertly captures these tension filled encounters as the newcomers seriously think of returning to a more leisurely lifestyle in their native country.
"I could understand all those conflicting emotions,"Dai admits."I was born in China, took my M.A. in film at Leeds University in England and later emigrated to Canada. I knew how difficult the adjustment process could be. In their cases they were unskilled, that meant very tough jobs and long hours.
"What we are showing is the initial cultural shock which can last for many months. Some newcomers decide it is not worthwhile and want to return home to a land where they feel safe."
Dai is such an accomplished film maker that the family seem unaware of the cameras most of the time. The newcomers emerge as caring, feeling people without the usual cultural cliches.
Dai makes us feel for these people and we become interested in their struggles. It turns into an emotional roller coaster ride for viewers as well.
The production was shot between January and July 2016 but Dai notes "It is a difficult adjustment for everybody going to a new country"--she remembers meeting an Indian-born cabbie at Pearson who had university degrees and expected something better as an immigrant.
But how has the family fared since Dai stopped filming?
"I keep in touch. I still care. They are doing better. They are getting to know each other again. It's a long climb. My heart goes out to them. Their struggles are the struggles of all newcomers."
The film will be shown at a later date on CBC Documentary channel.
MY FIRST 150 DAYS PREMIERES ON TVONTARIO WEDNESDAY APRIL 12 AT 9 P.M.
MY RATING: ****.
Friday, April 7, 2017
I wonder if Malka Rosenbaum and Juergen Ulloth have ever met?
Because they are the dual subjects of one of the best Canadian documentaries I've seen in years: Secrets Of Survival.
Malka was a student at the University of Toronto when she told her mother about the difficulties of being an only child.
And her mother then told her that she had an older sister who had been given to Polish neighbors during the height of the Holocaust.
Juergen Ullroth found out about his past when he went to the Kassel Municipality in west Germany to retrieve his birth certificate for his marriage license.
And the municipal clerk told a shocked young Juergen that his family name was actually Raenold, his mother's maiden name.
Juergen's mother had married Mr. Ullroth in 1951 four years after his birth.
"And that was the beginning of this dual profile," says veteran film masker Martin Himel on the line from Tel Aviv.
You can check out Secrets Of Survival for yourself --it premieres on the CBC Documentary Channel Sunday April 9 at 9 p.m.
"Originally I chose three subjects," Himel tells me. "But the first two worked out so well I could drop the third."
"Both Malka and Juergen were affected by World War II more than they had ever imagined. And our search for closure for these two extraordinary people turned out so much better than I had ever imagined."
Himel's odyssey took him and his two subjects "all over the place. On several continents. Part of it depended on good luck, part on the dogged research of people who cared about this theme.It turned out better than I could ever have hoped for."
In Juergen's case Himel and his camera crew follow the resolute German right across the Atlantic where he learns his father was an 18-year old American soldier who very much wanted to marry his 16-year old German girlfriend.
"Juergen told me he didn't think his mother would ever consent to be on camera but just before we were preparing to leave he phoned and said she was ready. First surprise was how well she speaks English. But she also gives us the perspective of a scared teenager --Americans in 1946 were still very much considered to be the enemy."
The scenes of Juergen slowly researching his ancestry in America constitute highs and lows. His father Malcolm continued to visit until Juergen was three and then left forever.
Juergen's voyage of discovery takes him to relatives in North Carolina he never knew existed and one scene finds him in an evangelical church embraced by parishioners.
" An uptight European man suddenly found what it is to be treated as an American," laughs Hiimel.
Forty-five years after hearing of her sister's existence Malka is stunned to learn from an aged aunt that her sibling might indeed have survived the war.
Using extraordinary detection a young researcher in Poland is able to track down some valuable information about the sister. Malka and her family visit the isolated farm deep in the Polish woods where the baby was secreted.
And what they discover is heart warming and heart breaking --you'll have to watch the entire film to learn more.
Himel says agrees these are only two of thousands of unresolved family secrets --a war that ended 72 years ago still reverberates.
"In both cases the survivors merely wanted to go on with their lives as best as they could," he tells me. "All became victims in some way or another. Juergen and Malka are more closely related than they could ever know."
SECRETS OF SURVIVAL PREMIERES ON CBC DOCUMENTARY CHANNEL SUNDAY APRIL 9 AT 9 P.M.
MY RATING: ****.
Monday, March 27, 2017
The big news on American TV these days concerns the revival of past series hits.
Gilmore Girls is back for a limited run. and I;m, watchging and enjoying it as I find out what happened to the original characters.
So I'm thinking back on all the Canadian TV sets I was on and wondering which ones could be successfully revived.
The new Anne Of Green Gables is all the ratings rage on CBC-TV these days. So why not revive some other big hits over the years?
One of the first sets I ever attended was up at CFTO studios in Agincourt: Headline Hunters with Charles Templeton.
It was a piece of inexpensive Canadian content and it ran from 1972 through 1983.
And if CTV doesn't want it what about CTV News or even History Channel?
In fact I've already told current CBC programmers Front Page Challenge would be a dandy choice for revival.
I'd use Peter Mansbridge as host and a new gallery of panelists that might include Wendy Crewson, Martin Short, Art Hindle and perhaps one of the stars of Schitt's Creek.
Riverdale was a short lived soap opera on CBC running three years (1997 through 2000).
The reason it failed was simple: lack of money.
Had CBC been able to finance a year of the story instead of just 12 episodes per season the soap would have thrived.
But this one never even came out on .DVD. I'm told some of the sets are still standing and used on the various Degrassi series.
I simply feel an hour revival would make it if heavily promoted and allowed to flourish for a full year of episodes.
A series far older was Quentin Durgens M.P. starring a very young and lean Gordon Pinsent.
The show debuted in 1966 when I was still a student at the University of Toronto and lasted until 1969 in increments of about six episodes a year.
What I'd do is recast the lead with Leah Pinsent, Gordon's talented actress daughter.
Then I'd plop her into the turmoil of the Canadian House of Commons and be immersed in a great political scandal not of her making.
Then I'd plop in Gordon as the aged but politically cagey Quentin who comes to the rescue of his daughter who represents the Ontario riding he once represented 40 years before.
E,N.G. was a popular hourlong drama running on CTV from 1990 through 1994.
I have no idea why this popular series has never come out in a boxed set.
The clerk at HMV Video told me it was one of the most requested Canadian series not on video.
Sara Botsford and Art Hindle were the stars of this newsroom story and I'd bring them back as the station is threatened with foreclosure by failing ratings.
They want to reinvent TV news by giving it a harsher coverage, confident that telling the truth for once on TV will reap big audiences.
Canadian sitcoms that could be reinvented include Maniac Mansion, Frontier Rabbi and Maniac Mansion.
Some Canadian sitcoms did not make it because they needed more work --that's my rationale for reviving In Opposition and Not My Department.
King Of Kensinton starred the gifted Al Waxman --he has passed but I'd recreate the show with his TV partner played so tellingly by Fiona Reid.
One of the first CBC TV events I ever attended was the lavish premiere for Whiteoaks Of Jalna which ran for 12 hours starting in January 1972.
Did you know French TV later tried a version with the great French star Danielle Darrieux?
I say try again --but this time use only the original story by Mazo de la Roache. TV's version added a secondary modern story with the same bunch of actors also playing their ancestors.
Sunday, March 19, 2017
The first time I met Robert Osborne it was 1993 and the genial old movie host was giving interviews at the annual launch for AMC (American Movie Classics).
That's what I said AMC!
Turns out Osborne never did officially join that old movie channel but instead accepted a better bid to become the night time host of TCM ( Turner Classsic Movies).
And for a decade after Osborne joined me in a bid to force the Canadian Radio-television Commission to allow this great haven of film classics to be admitted to the Canadian cablde TV dial.
I remember one CRTC bureaucrat actually telling me TCM was ineligible because there was no Canadian content.
So I got to talk to Osborne on the phone all that time and later when TCM finally hit Canadian TV.
The most important fact: Osborne never did directly program the films shown daily.
"That's a job in itself," he told me. "But there is a lot of give and take. And when I get the lists I get to work researching all films I'll introduce."
When I first met him he'd recently caused some controversy but stating it was TCM's mission to show Congo Maisie as much as it was to show Gone With The Wind."
"Every movie tells us a lot about the times and the people involved in the filming. I guess GWTW is the most shown movie on TCM. But Congo Maisie deserves our attention, too."
AMC was there first and showed the collections of Paramount, Universal, RKO and 20th Century-Fox."
That left Turner with Warners, MGM and RKO (shared with AMC). TCM recently Columbia pictures were added. And now MCA (Paramount and Universal) has also joined.
These days TCM is the last major movie channel around using hosts.
In Canada we had the energetic Elwy Yost in TVOntario for over 20 years. But these days TVO is out of the movie business entirely.
Most people did not know that while Osborne lived in Manhattan he had to fly to TCM headquarters in Atlanta to tape his introductions.
"I started in Hollywood under contract to Lucille Ball as part of a company of aspiring young actors. Lucy trained us in workshops, gave us bit parts in our shows, then told me I should be behind the lights. It was the best career advice ever given to me."
He lived in an apartment in New York called The Osborne. "But it was not named after me! Honest!"
For the past few days TCM has been rerunning all his hour interviews with the likes of Betty Hutton, Debbie Reynolds and Norman Jewison.
In 2011 Osborne was off camera for months recovering from a serious illness and when he returned young Ben Mankiewicz was spelling him off more and more.
Osborne chuckled when I told him Canadian viewers were often perplexed by his introductions. Recently he'd introduced "Claude Rains in a Hitchcockian romance."
Instead Rains appeared in Saturday's Children and not Notorious as Osborne had obviously been publicizing.
"In Canada we have to change seven per cent of titles which we do not own," he admitted. "I dearly wish they'd change the intro, too."
And I'm missing him already.
Thursday, March 2, 2017
On Sunday March 5 at 10 p.m. FX begins showing the new miniseries The Feud : Bette And Joan starring Jessica Lange as Joan Crawford and Susan Sarandon as Bette Davis.
Well, I know a lot about that feud, I met both ladies on several occasioned and interviewed many of their co-workers over the decades.
From my archives I've culled the juiciest quotes to illustrate the great hatred that always exiusted between Joan and Bette.:
VINCENT SHERMAN: I directed Bette in Mr. Skeffington (1944) and Joan in The Damned Don't Cry (1950). Bette was the more versatile actress but Joan was a star over a longer period and this irritated Bette.
I also had love affairs with both. On Mr Skeffington (1944) Bette's second husband had just died under mysterious circumstances and she was very needy. She wanted me to leave my wife and children and after I refused we never worked again.
Joan used sex to counter her feelings of loneliness. She always became the character she was playing. In the second film we did together Harriet Craig (1950) I used her compulsive need to dust and clean --she was cleaning away one day during a take when she looked up and said "I'm playing myself, right?" And she was right.
EDWARD DYNTRYK: When I directed Where Love Has Gone (1964) I had to cope with the hatred between Bette and Susan Hayward who was a toughie in her own right.
Bette not only had to take second billing but she was playing Susie's mother and was only a decade older than Susie.
Bette would storm onto the set shouting "Don't worry boys I've rewritten a few lines!"
Whereupon Susie would storm off the set, slam her dressing room shut and refuse to leave until all her lines were properly restored.
After I shot the last scene Bette turned to me and said "Am I finished, Mr. Director?"
I assured her that was so and she took off her white wig and tossed it at Susie and it bounced off her forehead.
"You disgusting old bitch!" shouted Susie as Bette exited Stage Left.
IRVING RAPPER: I had just finished directing The Gay Sisters (1942) with Miss Barbara Stanwyck who everybody loved when Warners announced I'd be directing Bette for the first time in Now, Voyager (1942) and Barbara gifted me with a wreath of black roses. She knew the travails I was going to face!
ANNA LEE: On the set of Whatever Happened To Baby Jane (1962) I had the dressing room between Crawford and Davis.
I could feel the great waves of hatred emanating from both dressing rooms. I felt quite noxious at times.
In one Bette had to drag Joan across the living room and Joan claimed Bette had deliberately kicked her in the face.
To retaliate Joan had jockey weights sewn into the hem of her skirt so when Bette had to drag her some more in the next scene the weight was so much Bette's back popped out a d she had to be taken to the hospital.
BETSY PALMER: On every picture Joan had to have a scapegoat and usually it was a young girl just starting out.
On Goodbye, My Fancy it was Janice Rule as the ingenue and Joan barked at her mercilessly.
On the picture I did with her Queen Bee (1955) she latched onto pretty little Lucy Marlowe and in one scene when Lucy forgot her lines because she was frightened Joan sucker punched her just like that!
GERALDINE FITZGERALD: Bette took me under her wing in Dark Victory (1939) which was my first big picture at Warners. I'd been warned by the director she'd try to get me out of focus during my big speech which is why I'm holding onto the piano with all my might. But you see I posed no thereat to her.
But Bette was never collegial. She'd just finished The Old Maid (1939) opposite Miriam Hopkins the greatest scene stealer of them all. Miriam appeared on set the first day wearing one of Bette's dresses from her past hit Jezebel and Bette went crazy.
VINCENT SHERMAN: On Old Acquaintance (1943) Bette and Miriam went on a dizzy field trip of trying to upstage each other. The day I had to photograph Bette slapping Miriam the rafters were filled with employees, Miriam was hated so. And Bette drilled one so hard Miriam's head bobbled up and down.
The next day Miriam phoned in sick saying she was suffering from a huge headache and her absence cost the studio thousands of collars.
GEORGE CUKOR: On The Women (1939) Joan was forced to take second billing to Norma Shearer and she hated this. During line reading rehearsals she'd click her knitting needles every time Norma had to make a speech. Finally I told her to stop at once and Joan fled from the stage in tears and wouldn't return that day.
CURTIS BERNHARDT: I directed Bette Davis as twins in A Stolen Life (1946) and then Joan Crawford in Possessed (1947) which she took over when Bette went on maternity leave. Joan took an Oscar nomination and Bette was not at all happy I can tell you.
They loathed each other because they saw themselves in each other. Both came from poverty. Both had been deserted by their fathers. Joan's childhood was more oppressive but neither had happy memories of their younger days. Joan would be in full makeup at 9 a.m. and nobody worked harder. Bette needed a lot of direction because she had a tendency to go over the top. Their dressing rooms were side by side but they never talked to each other. Joan was a diet freak, she'd nibble carrots at lunch. Bette would pork it on and then go on killer diets. I think they fascinated each other, they never stopped competing.
JOSEPH COTTEN: Joan started HUSH HUSH SWEET CHARLOTTE (1964) but claimed Bette was harassing her. Crawford had collected IOUs for the female stars up against Davis for the Oscar for Whatever Happened To Baby Jane and when Ann Bancroft won but couldn't make it (she was on Broadway) Joan whisked past Bette backstage and walked out and took the Oscar and made a great speech for Ann. Needless to say Bette was seething.
VINCENT SHERMAN: Joan pretended she had a virus and was in hospital when I visited her. She claimed she was in perfect health but had faked it to "get away from that bitch!" Then she jumped stark naked out of bed and we made furious love on the floor of the hospital room.
GERALDINE FITZGERALD: In 1977 Bette was the first woman to win the AFI award,Koan had just passed and I wonder what she would have made of this! Bette was astonished so many of her co-workers refused to attend including Robert Montgomery, George Brent, Irving Rapper and Vincent Sherman. Bette forgot how viciously she'd fought for her place in the sun.
NOTE: In i977 I interviewed Davis at her Hollywood apartment and told her that I had to leave at 5 p.m. to attend the Joan Crawford Salute at the Academy Awards theater.
BETTE DAVIS: Who'd salute that bitch?
ME: Well, the welcoming committee at the door includes John Wayne, Myrna Loy, Robert Young, Virginia Grey, Steven Spielberg (who'd directed Joan on TV's Night Gallery).
BETTE DAVIS: Well, I never said she wasn't important. She was old Hollywood, she worked at it harder than anyone I knew, that stardom which she truly believed in. But she was one tough broad is all I'll say.
VINCENT PRICEL: On Bete's last completed picture The Wales Of August (1984) Bette was her usual obstreperous self. She started picking on Lillian Gish and Miss Lillian was 91 for heaven's sake.
Director Lindsay Anderson was lining up a close-up of Miss Lillian when Bette burst in "Oh, fer gawd's sake, that old bitch invented the close-up!" That's Bette! Feuding and fighting and fussing!
Wednesday, March 1, 2017
Best news of the week" CTV's Cardinal is coming back for two more seasons.
And Cardinal may be the wave of the future for Canadian TV drama.
The first season ends tonight at 10 on CTV and ran a short term of just seven hourlong episodes.
But audience reaction was fierce: so CTV has ordered two more "cycles" of six hours each.
In the past a Canadian TV series like the currently running Saving Hope would glide along with 13 hours and try competing against the U.S. imports of 22 hours per season.
I think Cardinal works because it is unrelentingly Canadian --it was photographed in Sudbury and North Bay. Although Billy Campbell (The Killing) is American Karine Vanasse is from Quebec and other key parts are played by Canadians.
Based on Gilles Blunt's 2000 novel Forty Words For Sorrow the story has cops Campbell and Vanasse figuring out that there was a serial killer in their community.I thing what made the story was the beautifully austere landscape which always seemed so threatening, menacing.I thought Campbell finely cast --I first interviewed him on the set of Dynasty way, way back and we reconnected on the set of Once And Again where he blurted out --"I really hate this character!".
Maybe so but he aced that guy and does so again here.
In past years Canadian TV has been too quick to ditch concepts that were not entirely working.
I'm thinking of CBC's attempts to float a series set in the Eastern Townships starring Nathaniel Parker. Iy was abandoned after one TV movie.
The success of Cardinal comes from the immaculate adaptation by Aubrey Nealon and Daniel Grou's sturdy direction.
The series has already been sold to BBC meaning it must be very good indeed.
You can check out the seasonal finale wednesday night at 10 on CTV.
Monday, February 27, 2017
Having Our Baby is the challenging new look at surrogacy that premieres on the Documentary Channel Tuesday night at 10.
It answers many of the basic questions about this boom and there are facets I'd never even thought about.
As soon as I spotted Nick Orchard's name as director/producer I knew I had to preview this one.
Orchard's Vancouver-based credits include The New Beachcombers, Cosmic Highway and Cybersex Addiction.
Thankfully his production isn't a maze of questions as he chooses the personal approach.
We meet couples striving to connect with a surrogate mother and the location even moves abroad.
A look at surrogacy in India is particularly disturbing with women undergoing this procedure simply to make enough money to feed their own families --the racism here is something I'd never considered before.
We meet Edmonton couple Sarah and Jason Geisler as well as male couple Philippe Robert and Philippe Malo. And there is Ontario surrogate Eilise Marten whose story is particularly affecting --she has her own children but finds she is happiest when pregnant.
The state of surrogacy is changing as India and Mexico have banned surrogacy for commercial gain because of widespread abuses.
That portion of the film reminded me of another one from last year looking at poor people in the Philippines selling their kidneys for rich Westerners.
I would have liked to ask the Canadian couples why they just didn't go the adoption route.
And the experiences of these surrogate babies might be another interesting twist --how do they react when told later on about their unusual births.
Orchard is an expert interviewer and he manages to draw from these couples the often complicated reasons why they went the surrogacy route.
The point is made that surrogacy for profit is banned in Canada for what seems to be very sound reasons --in the U.S. the average fee is something like $36,000.
The strangest scenes are a reunion of surrogates and they turn out to be rather ordinary looking and completely sweet women --not at all predatory----I wonder as the years go on if they will ever regret their decisions, that is certainly something to consider.
There is, of course, a huge stigma and much negativity because motherhood cannot be turned on and off like a faucet.
I'm wondering if there is a register so children who grow up can then contact their "real" mothers for whatever reasons.
How all this is playing out in Third World countries became for me the highlight of the film --the exploitation seems so callous and so very commercial.
I think the term used here is "reproductive tourism".
And the famous case of a western couple paying for a surrogate who had twins --the couple would only accept the "normal" one --the other baby with Down's syndrome was turned down.
The point is made very vigorously that in some cases the baby becomes a "thing" or a product,.
Multi-textured and completely challenging Having Our Baby (from Soapbox Productions) is compulsively viewable, a hit on many levels. Well done!
HAVING OUR BABY PREMIERES ON DOCUMENTARY CHANNEL TUESDAY FEBRUARY 28 AT 10 P.M. AND 1 A.M.
MY RATING: ^^^^.
Wednesday, February 22, 2017
The future of Canadian TV is bright --I make this statement after watching the brilliant new homegrown documentary Cracking Cancer which premieres on CBC-TV's Nature Of Things Thursday night at 8 on CBC TV.
The subject is daunting enough --the advent of POG or Personalized OncoGenomics but this new technique in battling cancer is personalized by the true tales of patients.
We first get to know and admire Zuri who is 33 and a new mother.
She battled breast cancer shortly after giving birth and endured a mastectomy, radiation, chemo and hormone therapy.
But 18 months later her cancer came back with a vengeance spreading to the liver and lymph nodes.
Her long term prospects seemed bleak until she was given a standard drug for diabetes --it was hardly a new drug--but because of POG Zuri is currently cancer free and thriving.
The director of Cracking Cancer , Judith Pyke, says the personalized approach was used to define what a breakthrough POG is for cancer survivors.
"We started in December 2015," Pyke tells me on the phone from Vancouver.
"Originally a letter was sent out to patients we wanted to film. It was a lot to ask but we found people who did want to tell about their condition. We filmed ten but only use seven here --we were looking for different aspects you see."
Pyke and her camera crew filmed the patients not only during hospital visits but also at home with families..
"And we also filmed the oncologists specifically Dr. Janessa Laskin who is co-founder of the trial at Vancouver's BC Cancer Agency."
The documentary opens with Zuri who Pyke salutes as "quite a fighter, so optimistic. And she has fared the best."
Nori's cancer came from a mutation that caused rapid growth.
The POG team used decades worth of scientific discovery --the goal was to isolate drugs which might block the growth of Zuri's cancer.
Zuri was given a diabetes medicine combined with hormonal treatment and five months later her cancer seemed to have become virtually undetectable.
We also meet Trish who is battling colorectal cancer and has multiple nymph nodes--she needs an eight-hour operation to eliminate a tumor on her spine.
Katya is in Styage Four for breast cancer and needs help quickly.
Then there's Marcy who is battling lung cancer and thinks she has found the right drug for her condition.
Karl has liver cancer. which was diagnosed very late.
And there is a wonderful little boy Sagar who has a unique condition which mimics cancer.
"Of course we didn't know in adevance what would happen to any of them," Pyke explains. "Of course you get emotionally involved. It was an incredible journey."
But how to explain all this to the average viewer?
Luckily NOT's long time host. Dr. David Suzuki joins the team to do exactly that. Now based in Vancouver Suzuki more often these days fronts the weekly hours. But here he uses his experience as a geneticist to ask the tough questions.
Suzuki interviews Dr. Marco Marrra, one of the leading genome scientists, who explains the procedure in terms anyone can understand.
Pyke thinks the hour is basically a study in courage. The outcomes can't be revealed here but there's sorrow as well as triumph.
Today's TV hour is actually 42 minutes--meaning heroic editing was needed to preserve the content but keep the pacing.
Pyke credits ace editing (Alan Flett) and her director of photography (Todd Craddock). Pyke wrote it with Helen Singer and Sue Ridout produced for Dreamfilm Productions.
The result is a model of how to engage viewers without sacrificing quality.
CRACKING CANCER PREMIERES ON CBC-TV'S THE NATURE OF THINGS THURSDAY FEBRUARY 23 AT 8 P.M.
MY RATING: ****.
Tuesday, February 7, 2017
Usually on The Nature Of Things TV fans get to visit tropical rain forests or the frozen Canadian North or laboratories in Oxford University.
But director Roberto Verdecchia had this great idea -- he wanted nothing better than to visit an average Toronto home and report from there.
You can see for yourself on the absolutely original hour The Great Wild Outdoors which premieres on CBC-TV Thursday February 9 at 8 p.m.
Verdecchia's method is simplicity itself --he selected the home of friends and bade them leave while he brought in a team of eager entomologists to track down every insect living uninvited in this home.
"I think we got almost everything we wanted," says Verdecchia. "We simply wanted to show how every house is a fully functioning habitat for a wide variety of insects."
At first we see the TV team bidding the Vettese family goodbye as the home becomes the personal insect fiefdom of talented researcher Michalle Trautwein and her easger beaver crew of insect detectives.
It's "Lights!Action!Camera!" and the stars of this production seem to be everywhere --under rugs, lurking in the darkest recesses of the cellar, even in the clothes closets.
I asked Roberto on the phone what would have happened if none of his guest stars had shown up and he laughed.
Because this hour was shot in the summer and many of the critters simply enter via open doors and windows.
"In deepest winter it might be a bit different but they are still there," he says.
Of course the young children in the family seem not at all enjoyed to be sharing such a nice house with bugs.
But generally speaking the bugs don't bother us much and we're expected to do the same thing I guess.
The press release quotes Roberto as saying :"I'm not much of a bug guy." But he effortlessly captures the enthusiasm of the researchers upon each discovery.
So here we have it --a wild life adventure documentary that resolutely never goes outdoors. How strange is that?
Every home it turns out teems with life and the question here is relevant: who is living with whom? What we have here is a great, unchartered frontier.
Every discovery becomes a joyful moment and specimens are bagged to be sent to the laboratory.We get to know a little about the researchers who seem impossibly young.
There are carpet beetles, clothes moths, the delightful wood louse, all those spiders in the basement.
I know there are spiders because of the mummified remains of their prey. Others such as mites are so tiny they look like dust spots--that's a deliberate cover up.
I could go on: pantry beetles, the ever unpopular stink bug, the house seems chock full of all these critters. The silverfish have been around since the Stone Age. There's one specie who can drop a leg just to fool a predator. And the moth in the luggage -- I was waiting for him.
This reminds me of a past NOT documentary which looked at all the bugs in a normal back yard.
Two names deserve mention: director of photography Derek Rogers and bug wrangler Jim Lovisek.
The Great Wild Indoors was produced by 52 Media Inc.
THE GREAT WILD INDOORS PREMIERES ON CBC-TV'S THE NATURE OF THINGS THURSDAY FEBRUARY 9 AT 8 P.M., REPEATED ON NEWS NETWORK FEB. 11 AT 7 P.M. AND FEB. 12 AT 4 A.M. and 8 P.M.
STARTING FEB.9 THERE ARE REPEATS ON http://www.cbc.ca/natureofthings/episodes/the-great-wild-indoors.
MY RATING: ***1/2.
Friday, January 27, 2017
It was my first day ever in Los Angeles as a TV critic, June 10, 1971 to be exact and the CBS publicist had a grueling schedule set out for me.
"We'll start on the set of Mission: Impossible," CBS's Betty Lamm told me. "Then I hand you over to Paramount for lunch on the set of The Brady Bunch. At 1 p.m. I'll pick you up again and we'll go to the L.A. Aquarium where Mannix is filming."
I enjoyed all three encounters but high on my list of best ever interviews was the warm and friendly Mikle Connors.
Mannix ran on CBS for eight huge seasons (1967-1995) and what a surprise it was to find Connors such a delightfully unpretentious guy.
Gail Fisher who played his secretary said to me: "What you see is what you get. No star tantrums. He lines up at the chuck wagon for lunch with the rest of us."
"The show is a hit because of Lucy Ball," Mannix told me. "She signed the personal cheque for $1 million for the pilot because she had a hunch about the show.
"And when initial ratings were disappointing she personally went to the president of CBS and got him to keep us going. It caught on gradually and by season's end we had a hit."
It was Connors who insisted on Fisher for co-star.
"At that time black co-stars were frowned on by CBS which had a huge rural audience. I insisted she be shown in beautifully tailored suits and freshly coiffed and whole episodes were built around her."
I also spent time with the series' creator Bruce Geller who tragically died in a plane crash.
By the way Connors' best buddy was Peter Graves who I'd interviewed that morning on the set of Mission: Impossible --Graves subsequently phoned Connors to alert him and said "Give that kid a break!"
Connors was born Kreker J. Ohanian in Fresno California in 1925. He played basketball at UCLA where he was nicknamed "Touch".
"I played as Touch Connors in the Joan Crawford film Sudden Fear (1952) and boy what a star she was. The sets had to be frigid because she perspired profusely. By the time she got through with co-star Jack Palance I'm sure he really wanted to kill her!"
Connors had already made as series titled Tightrope for CBS in 1959-69 which he told me "was just average fare. In Mannix my input into every episode is appreciated and we have big guest stars as well."
Connors said he thought the success of the series "can be explained easily. Most TV detectives were seedy up to that time. Joe Mannix was well off, nicely dressed. He sometimes got emotionally involved in the problems of his clients."
For a time Connors also flourished on the big screen.
"I made one mistake and that was to co-star opposite Bette Davis and Susan Hayward in Where Love Has Gone (1964). These two loathed each other. After Bette's last big scene she took off her white wig and threw it at Susie and it bounced off her forehead. 'Disgusing old bitch!' shouted Susie to the cheers of the crew!"
I remember Connors joking to me that day "When I go to the annual CBS affiliates' meeting I always joke with Jack Lord (of Hawaii 5-0) about who has the best pompadour. I think it's me!"
I kept in touch with Connors and even visited him on his next series Today's FBI which lasted half a season in 1981.
In later years Connors guested on The Love Boat (1981), War And Remembrance (1989) and on the series Hercules (1998).
I last talked to him on the phone about five years ago and he joked he'd just attended a Hollywood Collectibles Auction.
"So I guess that now makes me a genuine antique."
Wednesday, January 25, 2017
What a joy it was for this young TV critic to spend a day on the set of the huge CBS sitcom hit The Mary Tyler Moore Show in June 1972.
I got to meet all the gang and even the chief writers and then at lunch in came Mary herself and we spent the next hour in ballet class as I desperately tried to keep up with her.
"I'm a child of TV" she told me. "And I wouldn't have it any other way."
She and her husband Grant Tinker had just bought the old Republic studios out in Studio City and the sound stages were soon all booked with hit MTM TV series.
On Thursday night along with fellow TV critics I attended a filming of the next episode --there was one complete run through at 7 p.m. followed by a second at 9 and I couldn't see any change in the script or basic blocking.
The next night we all went out to CBS Studio City to watch a filming of All In The Family and the atmosphere was completely raucous. There was a 7 p.m. filming complete with much shouting by star Carroll O'Connor and when the cast re-assembled for the 9 p.m. filming the script had been completely turned around.
When I'd asked Mary about the reason for her sitcom success she said ":Oh, the writers. It's always about the writers. I just come in every week and say their beautiful lines."
She was born in Flatbush on December 29 1936 to Marjorie Hackett and George Tyler Moore who was a clerk.
"I think I wanted to be a dancer since I could walk," she told me. "It was a very Catholic household and like a good Catholic girl I married at 19 and soon had a son Richie."
Her first TV appearance?
"I danced on TV commercials for Hotpoint appliances which ran on the series The Adventures Of Ozzie And Harrie. Then I was the answering gal on the series Richard Diamond with only my legs were shown."
Sttardom followed as Laura Petrie on The Dick Vamn Dyke Show.
"In the first pilot a lovely actress Barbara Britton was used but she tested as too sophisticated. The show's creator Carl Reiner told me to let the others get the laughs and react as naturally as I could.
"Wives back then had certain standards --when I came on the set one day wearing slacks all hell broke loose. The chief CBS censor came running to the set and eventually he relented.""
When Dick Van Dyke folded Moore decided to try for the movies.
"I had the second female lead in Thoroughly Modern Mille (1967) and then I was a nun in an Elvis Presley thing Change Of Habit (1967). Then I did a Broadway musical version of Breakfast At Tiffanys opposite Richard Chamberlain which was the biggest stinker of the season."
Second husband Tinker put together the MTM Show in 1970 but she voluntarily ended it in 1977 when it still was a Top 10 hit.
"Biggest mistake of my life," she later told me. "We could have gone a few more years and made ever so much more money in reruns."
I remember a lavish MTM dinner on the top floor of Chasen's restaurant in Beverly Hills with 25 tables for the 100 TV critics and a separate MTM star at each table: Ed Asner, Valerie Harper, Cloris Leachman.
Later on MTM went into drama with such hourlong hits as Lou Grant and Hill Street Blues.
I later became good friends with Valerie Harper who said "With Mary what youy see is what you get. No temper tantrums. She was the sane one on the sjhow and let the crazies act all around her."
Bette White told me" "In 1980 mu husband and I had dinner with Mary and Grant one night in 1980. They'd just signed the papers to divorce. I felt so terrible I was in tears but Mary was strangely composed."
When I later asked Moore how closely her own personality had followed that of Mary Richards she said later "Not much at all. I'm far tougher. Not always nice."
And her personal life was filled with sorrow: both sister Elizabeth and her brother predeceased her.
And in 1981 she and Tinker would divorce.
In 1980 Moore dazzled in the film Ordinary People garnering an Oscar nomination.
"Director Robert Redford says he saw me walking alone down at the beach and saw a side of me the public had never seen. It was a dream assignment but I now realize a lot of that troubled woman was really me."
Moore tried to return to series TV three times but all attempts were flops: a variety hour titled The Mary Tyler Moore Show, (1979). and two sitcoms Mary (1985) and Annie McGuire (1986).
We had a grand reunion in the Toronto Star Newsroom in 1984 when she was shooting the CBS TV movie Heartsounds opposite Jim Garner.
As a favor I asked her to pose with managing editor Lou Clancy in the newsroom for a Star photographer and the next day it was splashed over the front page with the cute caption :" Mary? Lou?"
And I miss her already.
Sunday, January 22, 2017
Big news of the TV week is the return of Jennifer Gardy to CBC-TV's The Nature Of Things with the fifth of her popular Myth Or Science specials.
"The first four were all big ratings hits," reports Dr. Gardy "but I never guessed when we started we'd be doing a fifth installment."
Check it out on CBC-TV Thursday at 8. Got that?
Gardy says the specials have evolved. "But I think we get better with every outing. There's the same director (Jeff Semple) --he's only missed one. And the same camera crew who know what visuals are necessary to sell the story."
And may I add Jennifer Gardy, 37, is the best looking scientist on TV these days with impeccable credentials to boot --in her day job she functions as assistant professor at the University of British Columbia's School Of Population And Public Health.
Says Gardy "It all starts with an idea. In this case we wanted to look at our senses and see how our brain is wired to adjust to different senses.
"We always start with a basic game plan and our superb research team then goes about compiling as many possible segments as possible. This takes months and then the chosen experiments have to be whittled down to about five or six.
"I mean we have to get just the right images to back each experiment."
Gardy is front and center in each demonstration.
"Yeah, that's right. I'm the guinea pig standing in for the audience. My reactions obviously are not scripted. It's first response and that's fun. Each experiment's filming takes a few days. The challenge is to get these academics fully relaxed in front of the camera.""
So Gardy also gets to travel to other continents to be included in each test as well as pre-interview the researchers and other participants.
"We generally film in May and June because the universities are out by then but the researchers have yet to leave on summer vacation. So we shoot in Canada as well as Europe and the U.S."
I liked the meeting between Gardy and the English magician turned professor of psychology at Goldsmiths University in London. He shows her sleight of hand tricks which are delightful. In this case seeing is different from believing.
At Oxford University Gardy meets the neuroscientist who uses the potato chip test to determine the freshness of foods. Gardy fails this test is all I can say!
At the University of Leeds Gardy listens in to a faked lecture in which students are shown all sorts of creeping insects. Will they start scratching or what? I know my left arm was itching furiously.
Says Gardy "My favorite was at UCLA's Multisensory Perception Lab where my real arm is placed behind a black curtain and a rubber one substituted. Then the rubber one gets stabbed by a fork. What happens really surprised me.
"It's my favorite test but it wasn't the best in terms of visuals."
In another test passersby are given colored drinks and asked what they are tasting. I felt this one worked best on TV.
Gardy laughs when I tell her when I was at university in the 1960s when one of my professors was told he could no longer be on TV because he was in danger of being too pop.
"I think it's entirely different these days," she laughs. "Universities need all the attention they can get and then some.
"I think here we've done much of what we wanted to do. Boiling everything into an hour always is a real accomplishment. I'm already thinking what else can we do next time."
Myth Or Science was made by Infield Fly Productions (executive producer Dugald Maudsley).
MYTH OR SCIENCE PREMIERES ON CBC-TV'S THE NATURE OF THINGS THURSDAY JANUARY 26 AT 8 P.M.
MY RATING ****.
Friday, January 6, 2017
About this time every TV season I begin lamenting the lack of filmed Canadian drama series.
And I start with the inevitable stats: in 1985 the Canadian TV networks supported 11 quality hour long TV filmed drama series.
That was the year the three private webs petitioned the CRTC to back off its insistence on scripted shows promising they'd prefer doing it on their own.
Next season there were only two scripted drama series left --both on CBC.
The drought has continued ever since.
These days TV movies have virtually disappeared, too, although the lowly sitcom seems to be making a comeback with CBC's rip roaring dual hits Kim's Convenience and Schitt's Creek.
Independent producers tell me they won't make any kind of fiction based dramatic series unless they are assured of an American sale.
And then there's the strange and unique case of Hard Rock Medical.
It's a scripted medical show that runs on TVOntario of all places.
Over thew decades I've been covering TV it was always the TV mantra that the publicly funded Ontario weblet simply couldn't afford the costs involved.
The show returns for its new season of nine episodes Sunday nights at 8 on TVO.
It works because the 30-minute dramas are shot like the afternoon soaps: quickly and nothing fancy here with a lot of close-ups and the focus on the acting styles of the talented principals.
First and foremost there's Patrick McKenna.
I used to have to argue with TV viewers that McKenna was the same actor appearing on both Global's Traders and CBC's Red Green at the same time. He's that talented.
Here he's well cast as the heart of the show. I like the description of Hard Rock Medical as a "Kind of Grey's Anatomy for Canucks" (the opinion of The Star's Tony Wong).
I'd add that there's a lot of Northern Exposure in there too with emphasis on quirky character development.
Shot in Sudbury it looks at a medical school dedicated to training prospective doctors to work in the north.
I'm not exactly sure of the budget but it must be miniscule compared to something like an NCIS--there are no expensive stars and the scenes seem seamless and fluid without the cross cuts of a prime time U.S. export.
When Hard Rock Medical first premiered in 2013 I interviewed the cagey creator Derek Dorio --I first met him when he was playing the character Haggis Lamborgini in the TV series hit The Raccoons.
Diorio honed the craft of shooting fast at the French language arm of TVO --TFO which had even less funds than the English arm.
His first series was called Meteo+ and then he made a second hit Les Bleus De Ramville (2012). And he had perfected the technique of making Canadian TV drama at reasonable costs.
This series is thus well edited, crisp photographed and up to the strict standards of American prime time shows.
Other medical shows seem short on substance. HRM is gritty and realistic and I've liked the whole cast including Mark Coles Smith, Christian Laurin, Kyra Harper and Danielle Bourgon.
NOTE: Since I wrote this I've been informed by TVO that major funding comes from the Northern Ontario Heritage Corporation with additional help from TVO's production partner APTN.
HARD ROCK MEDIVAL'S THIRD SEASON PREMIERES ON TV ONTARIO SUNDAY JANUARY 8 AT 8 P.M.
MY RATING: ***1/3.