(Robin Spry, 1980)
This film dooms itself right out of the gate by boasting its status as a treatise on Anglo-Francophone relations, as embodied by Jennifer Dale's 50/50 babe. In fact the parade riot under the credits is absolutely the only onscreen incident in this multi-decade narrative where Dale is engaged in anything other than romantic entanglement. If she's with a friend, they talk exclusively about men; if she's got an enemy, it's because they like the same guy; if she gets a job she's not at it for fifteen seconds before one dude or the other comes charging in; she doesn't even get a one-on-one interaction with her fucking kid. No wonder the filmmakers run over her mother with a truck; this is a man's, man's, man's world, and the femme-free production team seem to be consciously laying the ground work for the Bechdel Test. Perhaps as a result, although there's nothing particularly wrong with Dale's performance, she comes off as considerably less interesting than her suitors, angelic Gabriel Arcand and devilish Winston Rekert, both of whom do well under the circumstances. Some individual scenes are well-observed, and Helen Hughes is a riot as Rekert's souse mom, but it's just not worth it.