By Paul McEwan
Consistently ranked as one of the simplest Canadian video clips of all time, punk-rock mockumentary Hard center Logo (1996) records the last-ditch reunion journey of an getting older rock band led by means of vocalist Joe Dick (Hugh Dillon). good bought by means of critics on the time of its unencumber, the movie keeps to get pleasure from a loyal foreign cult following.
This pleasing research of Hard middle Logo explores a few of the film's key subject matters, together with the accountability of documentary filmmakers to their topics, the advance of shut male relationships, and the connection among paintings and trade in Canada, specially for traveling musicians. Paul McEwan examines Hard middle Logo within the context of alternative diversifications of Michael Turner's 1993 novel of an analogous identify, in addition to opposed to different movies from McDonald's celebrated occupation. that includes interviews with McDonald himself and others occupied with the movie, Bruce McDonald's ‘Hard center brand’ provides an enticing examine one among Canada's such a lot mythologized movies.
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Additional resources for Bruce McDonald's 'Hard Core Logo'
The dialogue is a blend of 34 Adaptations Turner’s book and Baker’s screenplay, some of it word-for-word from the ﬁlm. The ﬁnal result is an odd amalgam of other work, but it stands on its own, especially since Craine allows himself to ﬁll in some of the peripheral details of the band using newspaper articles and testimonials from people who ‘knew’ the band or worked with them at some point in their career. All of the imaginary writers and contributors have the names (and sometimes the faces) of Craine’s friends and colleagues from Guelph.
16 Readers still inclined to be dismissive of fan ﬁction and videos might want to consider the relationship of all of this work to the other adaptations of Hard Core Logo I have been discussing so far in this book. We might imagine someone making the case that only Turner’s original novel is a work of artistic value and that all of the subsequent works are of lesser standing, but we would have trouble actually ﬁnding someone to make that case, living as we do in a world where even academic ivory towers harbour few such champions of the purely literary, and where 44 Adaptations the explosion of cultural and media studies since the 1980s has led to serious academic consideration of all manner of creative texts.
The ﬁlm is in some ways a victim of its own ambitions in casting, since it is immediately difﬁcult to accept Lewis as Québécois, as she is not a native French speaker and certainly does not speak with a Québécois accent. The fact that she cannot communicate at all in Toronto renders her mute for much of the ﬁlm and makes it difﬁcult to identify with her character. Gershon performs well, but the only person in the ﬁlm who seems comfortable in his role is Callum Keith Rennie, whose good looks and charm make his portrayal of a violent hoodlum all the more creepy.