Universal Language, directed by Matthew Rankin, has been selected as Canada’s entry for the Best International Film Award at the Oscars. Given Canada’s rich cinematic history, this choice is both surprising and disappointing.
Rankin, known for his amazing experimental approach to filmmaking, seems to have ventured into the realm of absurdist comedy with this film. However, unlike the works of master filmmakers such as Jacques Tati, whose humor is infused with wit and charm, Universal Language falls flat in its attempt to blend satire and comedy.
The film’s central premise attempts to parody the cultural and linguistic barriers that often complicate human communication. This is an ambitious and relevant theme, but the execution is far from what one would expect from a film representing a nation’s cinematic excellence on the international stage. Instead of clever satire, the humor often feels forced and uninspired, leaving the audience cringing rather than laughing. The jokes are more cheesy than clever, failing to deliver the comedic punch they aim for.
One of the most glaring issues with Universal Language is its acting. The performances are amateurish and lack the depth and nuance needed to elevate the script’s already weak humor. The characters come across as caricatures rather than real people, which makes it difficult for the audience to engage with them or care about their journeys. The leads, in particular, seem to struggle with their roles, often delivering lines with a stilted and unnatural quality. This poor performance is a stark contrast to the stellar acting seen in previous Canadian entries and raises questions about the casting choices and direction.
Moreover, the narrative structure of Universal Language is disjointed and chaotic. The storyline jumps from one scene to another without a clear sense of direction, making it hard to follow the plot or understand the characters’ motivations. This lack of coherence further detracts from the film’s overall impact and leaves viewers puzzled rather than entertained. It’s as if the film itself is unsure of what it wants to be – a satire, a comedy, or a social commentary – and ends up being none of these effectively.
In comparison to the subtle, sophisticated humor of Jacques Tati, Rankin’s attempt at absurdity feels heavy-handed and unsubtle. Tati’s films, such as Mon Oncle and Playtime, masterfully combine visual comedy with social commentary, creating a delightful cinematic experience that resonates on multiple levels. Universal Language, on the other hand, feels like a pale imitation, lacking the finesse and thoughtfulness that make Tati’s work timeless.