Touch of Pink: a Canadian cross-cultural comedy

TAKE ONE, June-Sept, 2004 by Janice Kaye

However, one key difference between Touch of Pink and the majority of Canadian films is that there is a classic plot structure, coherent character development and, most significantly, a happy ending so elusive/evaded in Canadian films. Happy endings seem to be considered by Canadian screenwriters to be pandering to simplistic American solutions despite the repeatedly stated desire in various industry and government sectors to compete in the American marketplace. "There's not going to be a happy ending," Alim, the Canadian, tells Grant, the American, "and there's nothing you or I can do about it." Grant counters: "A happy ending justifies everything," as he sits astride a wedding ice sculpture, dressed in a pith helmet a la Gunga Din. Colonial identifies may be conflated but they are consciously addressed. Even more effectively plotted movies such as the marvellous The Snow Walker resist conventional romantic closure. So do the very different Seducing Doctor Lewis and Foolproof. Harcourt has referred to Canada's cinematic output as pointing to a fragmented, unfinished, postmodern nation, and the fact that Canadian movies deny closure seems to support his opinion.

Regarding the American influence, Rashid understands and understates the case when he says, "It's a pretty potent force on out doorstep." He adds, "Until Canadian film changes the next generation's lives, it's not going to happen. Danish film is now colonizing other countries with its Dogme. I've probably seen more movies than most and yet my reference points seem to be American. They're the films that stayed with me. The Italian and French also reference American cinema quite a bit. It's the meat and potatoes of the film world, and the rest are just competing for room on the plate." Rashid is well aware of the seemingly inextricable connection between Canadian feature films and the Griersonian documentary tradition. "I always round it weird that it was a Brit--a Scot, in fact--who gave Canadian film an international profile. He had entrepreneurial energy and pushed these films out into the world. Suddenly we were at the forefront. Now we need two or three great films to come out at once like the Australians." In Touch of Pink Grant frames his hands as a director might, telling Alim when he finally reveals to his mother that he is gay, "You told the truth. The documentary approach." Yet, the truth can be manipulated and what looks seamless--classic Hollywood cinema is actually full of holes.

Alim reminds Grant that in The Bishop's Wife (1947) he tells David Niven that an angel leaves only when he's not needed any more. Grant, resisting banishment, retorts paternalistically, "I made you what you are today. You need me." Alim responds in an uncharacteristically courageous way for a Canadian hero: "I made you." With that statement, he retakes his life. Grant wonders how he'll survive. Later, Alim turns to the audience, breaking the fourth wall, and says that since he's "with you" (the viewer), "tell him I miss him sometimes."