Sunday, February 08, 2009

Nurse.Fighter.Boy



They are my favourite kind of stories: simple ones told beautifully.

So often stories are told with complicated subplots and twist endings; writers trying to stay two steps ahead of their audience. But those stories rarely stay with me. The ones that do are the tales of an average person who lets you into their patch of life. Gavin Hood’s movie Tsotsi is one of them. Yann Martel’s Man Booker-winning novel Life of Pi is another. And now Nurse.Fighter.Boy, a film by Toronto filmmaker Charles Officer, is another simple story told beautifully.

Filmed in and around the visually lush alleyways of the east end of Toronto, Nurse.Fighter.Boy follows Jude (the nurse) and her son, Ciel (the boy) as their pathways intersect with Silence (the fighter). Jude suffers from sickle cell anemia, an inherited blood disease that shortens life expectancy, a fact of which Ciel is keenly aware.

The opening scene is of Ciel playing the magician in his Narnia-like playspace, a role he inhabits throughout the film, reciting incantations and performing rituals to keep his mother well. He extends his protective talents to Silence in the film, a character also in need of healing. And at the film’s climax, a wonderfully crafted and acted duo of scenes, we see this healing, told in silence.

This is the reward of telling simple stories: you can infuse them with so much more, as Officer does. His visual images of the moon, the role of magic, the presence of Jamaica (a place, I was told by a friend who grew up there, that is full of ghosts and magic) and that tenuous space between childhood and adulthood, all suffuse Officer’s film.

And this beauty is why the simple story of Nurse.Fighter.Boy stays with me.