Hollywood's Canada
"Between 1907 and 1975, Hollywood movie-makers made 575 movies specifically set (although not usually filmed) in Canada. That statistic will startle those Canadians who have been told that foreign audiences won't sit still for a film about their country. As Pierre Berton points out in this explosive, tragic, and often funny book, the opposite is true. Movies about Canada have been making money in international markets for half a century. But the Canada that has been shown to the world is very different from the real Canada; and the Canadian image - now firmly fixed in the minds of three generations of moviegoers - is a caricature of the real thing. If Canadians have no sense of their own identity, it is partly because American movie-makers have distorted and blurred that identity. And if foreigners think of this country as a land of snow swept forests and mountains, devoid of larger cities and peopled by happy-go-lucky French-Canadians, wicked half-breeds, wild trappers and loggers, savage Indians and, above all, grim-jawed Mounties - that's because Hollywood has pictured us that way. Berton, who has examined the plot of almost every movie made about this country, finds that the Hollywood image of Canada and its people have been consistent since the first one-reel silent firms were made in 1907. The prairies are rarely shown almost every movie is an outdoor film set in the wilderness- the only city mentioned with any regularity is Montreal. The "Great Woods" begin at the border and stretch on the Artic Circle. The Canadian frontier is seen by Hollywood as an extension of the American frontier-lawless and violent, peopled by gunslingers, and studded with gambling halls and saloons. The Mountie is treated as an American frontier marshal in a red coat. The Klondike and the Yukon Territory are totally confused with Alaska. Our great historical adventures, when they are dealt with at all-the building of the Canadian Pacific, for example, and the Riel Rebellion- are distorted to the point where they are unrecognizable. Cecil B DeMille's production pf North West Mounted Police was hailed by international critics- including Canadians- as the most authentic pictures ever made about the Mounties; but, as Berton shows in fascinating detail, DeMille turned history topsy-turvy and managed to give the impression that the Mounties themselves had okayed the firm. Berton's research, which has taken him from London to Hollywood, and which makes use of hitherto unpublished material from the files of the RCMP and the Public Archives of Canada, reveals in detail the successful efforts of the Hollywood lobby to quash a quota system for films in post-war Canada- a system that might have given us a native -born movie industry. The book is studded with illuminating discoveries: a plea from Rudolph Friml's office to Pierre Elliot Trudeau begging him not to destroy " the beautiful legend of Rose Marie' (The author points out there are four legends , all totally different ); an RCMP commissioner's wistful telegram to Hollywood; "Mounted police would appreciate being left alone;" the Yukon River steamboat sequence slipped into a movie about the Dionne Quintuplets: the trails and tribulations of an ex-Mountie acting as technical adviser in Hollywood. These are some of the surprises in a book which is not only an exciting, revelatory narrative of more than sixty years of exploitation but also a work of careful scholarship"-Publisher