Guy Maddin Rolls on Night Mayor, Puts Victoria’s Secret Film on Hold

guy-maddinScreenwriter, director, Winnepegian and all-around melodramatic gadfly Guy Maddin is back behind the camera. Cinematical has provided a link to the National Film Board of Canada’s press room to reveal that Maddin’s latest, Night Mayor, will mark the NFB’s 70th Anniversary. Production is due to begin, well, yesterday (March 9). According to the release:

“When Maddin was approached by the NFB to create an original work for the anniversary, he immersed himself into the country’s film heritage inside the NFB’s vast archives. What he has envisioned is an imaginative cinematic riff on the significance of a public film producer.”

The Vancouver Sun reports that this means his Victoria’s Secret-backed “film noir battle of the sexes” Keyhole will be pushed back until next winter and probably won’t premeire until the 2010 Toronto Film Festival. They’ve also got Maddin quotage about Night Mayor:

“I thought I was doing research, but I just ended up being delighted by a lot of the old archival NFB films,” he says.

“I was shocked when I looked at these things three years ago to find out how beautifully made they were,” he says. “They really were un-Hollywood, which is why I didn’t like them as a kid, but they really have a strong feeling of their own,” he says.

“I realized some of our best films were made 50, 60 or 70 years ago,” he says.

“So I wanted to make a … tribute using the vocabulary of old NFB films, to construct a parable about the task the NFB faced when trying to get the word out to a gigantic country with a very thinly spread-out, small population.”

Maddin’s work is best described (okay, best described by me) as dream-like riffs on cinema history. Others have called him “a Canadian David Lynch.” *Yawn* I fell asleep during an early morning screening of Dracula: Pages from a Virgin’s Diary. And frankly, I haven’t really “gotten” films like Archangel, or understood the ridiculous enthusiasm the Film Comment crew have for him. He does write pulpy and enthusiastic love letters to the sob-filled flickers of the ’30s, ’40s and ’50s which help form his visual reservoir. There just don’t seem to be too many links to them on the Web. So here’s his rock ’em sock ’em The Heart of the World instead.


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