By Zoe Druick
Long earlier than 'Reality TV,' Canadian filmmaker Allan King prompted a stir via blending people's deepest and public lives in his 1969 documentary A Married Couple. This observational cinema piece, which took an unscripted examine the city Edwards relations, used to be deemed too contentious to air by way of commissioning community CTV at the grounds of over the top nudity and obscenity. however, the documentary used to be authorized by means of the Cannes pageant, and it's now brought up as a milestone in realist filmmaking.
In Allan King's A Married Couple, Zoë Druick examines the movie within the context of past due Sixties cinematic and cultural hobbies. via a scene-by-scene synopsis and an research of up to date responses to the piece, she strains A Married Couple's impression on documentary and Canadian filmmaking. The 5th quantity within the Canadian Cinema sequence, this paintings is an obtainable and fascinating creation to a arguable movie and its attention-grabbing director.
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Additional info for Allan King's A Married Couple
Associative dream logic is an element at play in A Married Couple as much as in the ﬁlms of Wiseman. For Wiseman, the emphasis is on the non-logical associations that he makes with the material in the editing room; for King, the issue concerns the performance of self for the camera. In an interview he explained, ‘And there is another question some people raise: Are they acting? And it sort of begs the question, because even if they were acting, where did the stuff come from? You know, it’s like dreams.
17 In other words, performing the self for the camera, not unlike recalling dreams, is a way to make the unconscious conscious. However, ‘playing out’ feelings and becoming aware of the emotional foundation of action doesn’t necessarily lead to mastery and closure. In the method subscribed to by King at this point in his career, the process was a way of creating an authentic ﬁlm text. In this way it differs in intention and result from a therapeutic practice in which the outcome for the participant is paramount.
In the second scene of the ﬁlm, a morning sequence, Antoinette calls Billy for breakfast while he is upstairs shaving, and his response transgresses the contemporary possibility of television and propels the ﬁlm into the realm of reality: ‘I heard you … Fuck it! ’ The use of ‘foul language’ was one of the issues confronted in the attempt to attain approval for the ﬁlm from the Ontario Censor Board. The board delayed release of the ﬁlm, demanding cuts. ’5 Although the language is perhaps unremarkable today, it would have been inconceivable in a ‘scripted’ drama of the period.