Growing up C.R.A.Z.Y. in Montreal

Sincere but not sappy, and without the cynicism of other Quebec film darlings like The Barbarian Invasions, C.R.A.Z.Y. interweaves two themes not uncommon in Quebecois film and literature: sexuality and religion. Evoking a very convincing sense of time and place, the film centers on Zac, the fourth of five brothers growing up in 1970s Montreal. C.R.A.Z.Y. is an acronym for the names of the five brothers: Christian, Raymond, Antoine, Zachary, and Yvan. With a penchant for David Bowie and a special gift from the Virgin Mary, Zac isn’t like the other brothers.

With a nostalgic atmosphere fuelled by music like Patsy Cline’s “Crazy” and David Bowie’s “Space Oddity,” C.R.A.Z.Y. is delicate in its portrayal Zac’s sexual confusion. The film doesn’t belabor the focus on Zac’s possible homosexuality, however, but centers on his complicated relationship with his father. Zac’s father, played by Michel Côté, is less than accepting of his son’s “deviant” expressions of gender and sexuality.

Wearing a white construction hat, the young Zac watches his father pull out of the driveway before ditching the hat for his mother’s robe and jewellery. Unfortunately, Zac’s father returns unexpectedly and catches Zac in the act. Even at this young age, Zac knows that he is doing something wrong in the eyes of his father and 1970s Catholic Quebec society with its conservative gender roles. Blessed with the misfortune of a December 25 birthday, the young Zac receives a succession of gifts meant to encourage his masculine side, rather than what he really wants: a baby carriage.

Superstition, and its relationship to religion, also plays a role in the film. Thrilled to learn that her son has “le don,” a gift of healing from the Virgin Mary, Zac’s mother (Danielle Proulx) receives a barrage of telephone calls from friends and relatives asking for Zac’s thoughts and magical powers of healing. Zac’s mother clings to this belief as the reason for Zac’s “difference” and increased sensitivity. As he grows up, Zac isn’t sure if he believes in God, but continues to pray for God to make him a normal boy. He throws himself into reckless situations to test his faith: if he can just make it through this red light, or through this blizzard, he’ll be “normal.”

Zac’s relationship with his mother provides some of the most tender moments of the film, which somehow manage to avoid being overly-sentimental, perhaps due to their quirkiness—this is a mother, after all, who irons toast for her eldest son. Perhaps the weakest moment in the film is an unnecessary tangent when Zac escapes to Jerusalem, seemingly to live out his mother’s religious dreams but more likely to check out the local gay scene.

Marc-André Grodin gives a convincing and nuanced performance as the teenaged Zac. Grodin has been referred to by some as the "Canadian Gael García Bernal," and indeed there’s a similarity between the two actors that goes beyond their good looks: Bernal, known for his role in Spanish-language films such as Y Tu Mamá También, The Motorcycle Diaries, and Bad Education, often stars in coming-of-age films similarly centered on sexuality and/or religion. Grodin’s role as Zac may propel him to imminent Québec stardom.

Director Jean-Marc Vallée originally thought he would have to translate the film into English for it to be a commercial success. Luckily, actor Michel Côté convinced him that this particular film needed to be made in Québec. Its distinctive French Canadianness is a large part of its appeal, and Québec audiences have reacted accordingly. C.R.A.Z.Y. ranked third in Quebec box offices in 2005, coming behind only Harry Potter and Star Wars – quite a feat for an independent local production. The film also recently swept Canada’s Genie awards, winning 10 of the 12 categories including best film and best director for Vallée. Michel Côté won best leading actor and Danielle Proulx best supporting actress for their roles as Zac’s parents.

Vallée has likened the film to a big mix tape. A self-professed music maniac, Vallée wanted to add his personal signature to the film through its soundtrack. The main character connects spiritually to music more so than to prayer—a point driven home by a surreal scene where Zac rises above the Church congregation to the tune of a rock anthem. With C.R.A.Z.Y., Vallée has finally been able to make the film he’s always wanted to make. Gorgeously shot in and around Montreal’s Plateau neighbourhood, this quirky and heart-warming Canadian gem of a film is well worth seeing.