Clearcut (film)

• Ron Lea: Peter Maguire
• Graham Greene: Arthur
• Michael Hogan: Bud Rickets
• Floyd Westerman: Wilf
• Rebecca Jenkins: Louise
• Tom Jackson Tom Starblanket

Clearcut ( Original title: Clearcut ) is a Canadian film from 1991 The film adaptation based on the novel A Dream Like Mine by Canadian writer MT. Kelly. Ryszard Bugajski Director presents the problem of industrial deforestation ( " clear-cutting ", engl. Clearcutting ) in Canada and shows the associated destruction of the natural habitat of Indian forest dwellers. The film had. In the U.S. on August 21, 1992 premiere in Germany on 9 July 1992

Action

In the forested areas in northern Canada every year the forest is cut down relentlessly. Thus, the responsible paper large companies destroy the habitat of the Indians who want to fight back now. Peter Maguire, an inexperienced attorney is representing indigenous peoples in a court process. He gets insight into modern life reserve, the brutal methods of industrial forestry and the Native American self-understanding of his clients. Before it can come to the process, however, Maguire, together with a manager of a paper mill by Arthur, an Indian who abducted. He wants to show the "Whites", what they have done to nature.

Reviews

The " uncompromising Ökothriller " was recorded behavior of the criticism mostly. Has been criticized for a Graham Greene as a performer of Arthur, eg by Chris Hicks of the Deseret News: " Greene's powerful screen presence lifts the whole film in a realistic, nature-based level, which makes the film uncomfortable at times. " Hal Hinson of the Washington Post went a step further and called Greene's performance as " crass sarcastically " he was " the scariest there, where he 's funny ." Blessed Michael Hogan, however, was in the role of Bud Rickets, whose " charming appearance a very cold heart " hide.

Secondly, the coarseness of the film was criticized. He was " well-intentioned, but ultimately disappointing." Although the film make its position clear, " articulate " but this only " coarse". On the other hand the political intransigence of the film garnering positive assessments: "Despite its superficial politeness and although it varies [ ... ] on the border of oversimplification, is [ the film ] so radical in his message as a picture that one in mind has. " For the lexicon of international film presents this " modern Western ' the theory of nonviolent resistance in question "and" makes its uncompromising hardness oppression of a people painful experience. " Praise was also the camera work by François Protat.