In a lot of ways this movie resembles life on the Rez, which is a strange mix of native tradition and modern convenience. As the driving device of the movie, we learn about Martin Fox's obsession with Hank Williams by hear say, not from the man himself. In fact he speaks very few lines in the course of the entire movie. What exactly Adelard Fox does for a living is never made entirely clear as he tools around town in his monster truck talking on his cell phone or works from his dining room table with his fax machine whirring in the background while his wife kneads bannock. Whatever his work he seems to dole out $50 bills from a seemingly inexhaustible roll. While young people zip around on their snow mobiles the dogs huddle together in dispirited groups for warmth. Despite all those modern conveniences it would seem indoor plumbing is still waiting to arrive. As Adelard's speech to the social worker illustrates the arrival of Indian Agents and white man's ways has been a mixed blessing. Just like the school bus with its broken windshield this movie progresses on Indian Time. This can make an antsy southerner feel restless at times. The humour here is understated and can easily go over one's head unless one pays close attention as in the scene in which Adelard makes a political donation to Chief Chicken-wings after telling his wife by phone that it's a good night to have chicken wings. As with aboriginal radio, much that we see here has been given its own special twist. I'm not sure I'm qualified to judge this movie, I would, though, like to know how it plays in aboriginal communities and in particular the one in which it was shot.
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