- - Published by The Link, March 10, 2009
http://www.thelinknewspaper.ca/articles/1056 - -
Polytechnique does justice to 1989 shooting
Polytechnique is not a film that can be watched without considering its historical context. The events that took place at Ecole Polytechnique on Dec, 6, 1989 still live on in the minds of many Montrealers.
The debates that followed the shooting could have posed some serious risks for director Denis Villeneuve. For instance, he could have gotten lost in the endless debates about who or what was responsible for turning Marc Lépine into a killer.
Some argued that every man has the potential to be a murderer, like Lépine, or that the massacre had something to do with the fact that he was a son of a Muslim Algerian—his real name was Gamil Gharbi. Luckily, Villeneuve avoids those possible explanations, neither of which he would have been able to satisfy inquiry.
However, it’s impossible to ignore the fact that Lépine claimed, in a suicide note, that he was fighting feminism. But at what point could such an extreme action be considered a political statement rather than an act of madness? Should a society feel responsible for the actions of one man? The film doesn't provide answers and this is not its goal.
Villeneuve and Jacques Davidts, the scriptwriters, wisely chose to focus on the shooting itself. It is an interpretation of what happened, but one based on interviews done with the victims themselves.
The movie does tackle one issue that was lobbied at survivors, namely, why didn’t the men attending Ecole Polytechnique intervene? The movie illustrates that few could have known, expected or reacted the way that society usually dictates in these circumstances.
The movie isn’t guilty of overarching acts of voyeurism, as some originally feared. Where Villeneuve masters his art is by using sound instead of shocking images. The cinematography is successful in illustrating the suddenness of the event. Steady camera shots are used to depict the calmness, the everyday life. They are contrasted by a shaky camera and extreme close ups to illustrate the confusion and the fear as the massacre begins. But this is not an action movie, and neither is it insensitive or sensationalist with its subject matter.
Villeneuve cautiously breaks the rhythm so the viewers can breathe, and better understand the human trauma that affects the survivors.
Just little over an hour in length, Polytechnique is a brief, if not intense, experience. True, it could awake bad memories in more than a few Montrealers, especially those who witnessed the events first-hand, or through relatives who were there.
But as a poster in one of the victim’s rooms suggests—a reference to a Pierre Perrault and Michel Brault film—this movie was perhaps needed pour la suite du monde. For the people to come.