About The Bay of Love and Sorrows

♦ ♦ ♦ 1/2 "Superlative... The acting is outstanding, starting with Outerbridge's quietly understated performance of Everette. This backwoods Rasputin has a mastery of terror... Elaine Cassidy very nearly steals the film in the role of Carrie, whose radiant innocence causes untold damage... This is one of the very few Canadian films I have seen in recent years that is free of sentimentality and magisterial in its command of human psychology. Director Tim Southam and director of photography Eric Cayla have matched the integrity of the story with a beautiful and nuanced cinematography." 
- Ray Conlogue, The Globe and Mail

♦ ♦ ♦ ♦ "Masterful... a truly unsettling and powerful drama that will stay with you long after the final credits have rolled."

- Alistair Harkness, The Scotsman, Edinburgh

♦ ♦ ♦ "Offers a finely observed portrait of East Coast life, filled with well-sketched characters and a sharp sense of morality... the movie has the seriousness and depth of a good novel."
- Jeet Heer, National Post

♦ ♦ ♦ "Powerful... The Bay of Love and Sorrows is a tale of class, innocence and evil played out at a time and place when the established set of country values was being rapidly replaced by no set values at all... strong acting, superior production standards, and a setting that is both peculiar to New Brunswick and universal to anyone familiar with the insularity of rural communities."
- John Griffin, The Gazette, Montreal

♦ ♦ ♦1/2 "An astonishing first feature from Montrealer Tim Southam... Tragedy is foreshadowed and tension builds from the opening shot... A tough, moving and profoundly human film... Southam evokes the profound sadness haunting his characters with a sober touch and an astonishing mastery of metaphor. The Montreal film maker also displays a fine talent for directing actors. Young Peter Outerbridge, Joanne Kelly and Elaine Cassidy (for the most part new faces) are all excellent, as the film rests almost entirely on their moral and psychological collapse... A film not to be missed." 
- Maxime Demers, Le Journal de Montreal

♦ ♦ ♦ ♦ "Lyrical, well-acted and well crafted, with subtle, harsh lessons about class and loyalty filtering through the story... Captures almost perfectly the time and the place, the feeling of being ready for something big to happen in a small place... The cast of The Bay of Love and Sorrows is uniformly good... Particularly of note, former Halifax resident Joanne Kelly gives Madonna an air of grace and common-sense, tempered with a lack of worldliness that ultimately lets her down... One of the most beautifully shot films to yet come out of this part of the world, The Bay of Love and Sorrows is an homage to the landscape of the Miramichi, the peculiar quality of the light, the isolation that's both suffocating and gorgeous." 
- Lee Anne Gillan, The Daily News, Halifax

♦ ♦ ♦ "The characters are well drawn, the acting rings true. In the heat of the action, the viewer is swept away by a story that could have unfolded anywhere, but which becomes all the more resonant in this particular setting." 
- Luc Perreault, La Presse, Montreal

"Beautifully photographed and impeccably acted... Southam shows a sensitive eye for composition. With rich tableaus, spare dialogue and an ethereal soundtrack, the film evokes the novel's flatly ominous tone." 
- Brian D. Johnson, Maclean's

"Unobtrusively set in the early ‘70's, along the Bay of Miramichi in New Brunswick, this atmospheric Canadian entry about a rich kid's social experiment with communal finances and its tragic impact on a small community may spark comparisons with last year's sleeper hit In the Bedroom. Staged in a small, coastal town, based on a book the filmmaker venerates, and fueled by a dangerous mix of respectable middle-class and lower-class elements, Bay lacks only the big-name cast." 
- Ronnie Scheib, Variety

"A deeply moving film about how class can ultimately trump loyalty in the rural Maritimes. By far the most effective screen adaptation of any Richards' work, The Bay of Love and Sorrows ranks with the finest naturalistic dramas of this or any year."
- Ron Foley Macdonald, Take One

"An impressive drama, Bay of Love and Sorrows recalls the brilliant downbeat films of the 70's by Robert Altman and Hal Ashby." 
- Marc Glassman, Classical 96.3 FM, Toronto

"A chilling and powerful rendition of a New Brunswick story that puts class differences on a Shakespearean scale... Captures the complexity of David Adams Richards' characters with a terrific cast and a startling visual acuity... The movie benefits greatly from Peter Outerbridge's outstanding performance as Everette, a man who hides evil and latent violence under a credible veneer of charm... Elaine Cassidy as Carrie is also riveting in the way she suggests repressed passion and desire... a desperate and bleak story set against a stunningly beautiful landscape."
- Elissa Barnard, The Chronicle-Herald, Halifax

"An utterly successful adaptation... With its slow pace, spare dialogue and somber cinematography The Bay of Love and Sorrows translates perfectly the oppressive atmosphere of the novel; each character seems trapped in a bad dream which only the project's instigator can flee. Gaetan Gravel and Serge Laforest's crystalline music weaves a mood of strangeness and bitter nostalgia. With its themes of return to nature and class differences Southam's film recalls John Boorman's Deliverance, and Nova Scotian Thom Fitzgerald's The Hanging Garden... In the very urban universe of Canadian and Quebec cinema, Tim Southam has appeared as a singular voice to watch." 
- Manon Dumais, Voir, Montreal

"A sensitive piece of work... The cast - especially striking newcomer Joanne Kelly as Michael's tough lover Madonna Brassaurd and Elaine Cassidy as Carrie Matchett, a girl way out of her depth - acquit themselves admirably." 
- Dimitri Katadotis, Hour, Montreal

♦ ♦ ♦ "Without infantilizing his own characters, David Adams Richards shows how utterly unprepared they are to face life's sudden setbacks, and we care for them with bated breath."
- John TD Keyes, Telus myTO.com

"A bleak but beautiful tragedy... there is much redemption in the grim suffering, and insight into the inner human landscape." 
- Marla Cranston, The Daily News, Halifax

"The Bay of Love and Sorrows rates as one of the very best Canadian films of the year... Director Tim Southam, working with the author on the screenplay, effectively catches the 1973-era Miramichi through every frame of the film. Again, David Adams Richards delves into tragic themes - this time it's class, friendship and loyalty - that illuminate the basics of the human condition. But using New Brunswick's dusky back roads as a backdrop makes the film briskly immediate and emotionally effective... As the story develops, and the situation darkens and deepens, Southam and Richards hit a rich vein of humanity that builds to a shattering climax... The Bay of Love and Sorrows is the kind of film that can restore your faith in the cinema... Watch for it, it's one of the finest Canadian films of the year."
- Ron Foley Macdonald, Aliant.net, Atlanticzone

"These days the 1970's are seemingly everywhere, conjured in contemporary pop culture as a slightly imbecilic, harmlessly indulgent, sartorially embarrassing shaggy dog decade that good taste forgot... Thankfully, not everywhere are the memories of the 1970's so vapid and domesticated. In director Tim Southam's new feature film, The Bay of Love and Sorrows, based on the eponymous 1998 novel by award-winning New Brunswick author David Adams Richards, the 1970's - that is the Canadian 1970's - undergo a much more serious, searching and unsettling dramatic reassessment... The film stares failed idealism right in the face. Through its intense and intelligent drama about sometimes catastrophic collisions of ideas and experience, it also confronts our own notions of what then was and what now is... Peter Outerbridge in his most concentrated, compelling performance to date... The multi-levelled, devastating denouement of this film is as rich in suggestion and as dense in contradiction, tragic irony and fate as anything in Canadian cinema, past or present.
- Tom McSorley, Take One