The Bitter Ash
Canada | English
1963 | 80 Minutes
Director: Larry Kent
Cast: Philip Brown, Diane Griffith, Lee MacKenzie, Alan Scarfe, Lynn Stewart
When it comes to Canadian cinema, the name Larry Kent should be one of the first names to appear on the list – and his debut film, The Bitter Ash, in the upper echelon of Canadian film. A pioneer, rebel and mutineer – an upstart artist that forever spun the Canadian cinematic world on its heels and ensured that it would never again be the same. A visionary. And tonight, the Fantasia festival recognized these facts and awarded him the Canadian Trailblazer Award.
This is Kent’s debut film, one that was mired in controversy to the point of having RCMP officers (that’s the Canadian police force for anyone outside of Canada) chain shut the doors of any cinema bold enough to show the film. They really didn’t want people to hear the poignant messages found in the found and seemingly were prepared to go to great lengths to prevent people seeing the film. That was enough to peek my interest and get me into the theatre at Fantasia festival.
See Also: The Primevals at Fantasia Festival 2023
After reviews from the Vancouver Sun’s Les Wedman upon the film’s initial release raised alarm about the film’s language and nudity, B.C. censors banned the film from commercial theatres. Kent screened the print at the University of British Columbia, and then across Canada at other universities. At Carlton, police seized the film, and at McGill, a minor riot broke out when University officials tried to limit tickets.
I imagine some of those reading this will have the same question I had. What was so controversial about this film? In order to answer that, it needs mentioning that this was the early 1960s and society wasn’t yet what it has evolved into in the six decades since its release. By modern standards, there isn’t anything at all that might be construed as controversial; but that is because of films and other works of art like it that caused a stir long ago. Because of the artists that were brave enough to voice themselves and to the audiences willing to listen. Art must never be silenced, and this is why.
The Bitter Ash talks about topics of sexual revolution, gender equality and drug use, about social classes and speaks about the importance of living the lives with have instead of slaving like drones to the capitalism machine. That work and careers are not the be all and end all that we were once lead – nay, forced to believe. The Bitter Ash is a social satire of its time that was and still is as important and poignant as the day it was made.
It is worth noting that this is a 4K restoration of the film that hasn’t yet been fully completed, making its inclusion at the festival that much more special.
Being able to see Vancouver as it was sixty years ago is a very special thing, especially since several of the locations are areas I know quite well. The Bitter Ash was filmed before I was born – before I had even moved to Canada, and as such, I cherish the ability to time travel and see the way things once were; before the cold gentrifying condos came to sweep every once of romance from the city.
Everything about The Bitter Ash was about pushing the envelope of the time when it was created. From challenging marriage and the way humans came together as partners to how they worked and earned wages. Even the use of marijuana is championed, decades before it became legal to use in Canada. At one point, the consumption of alcohol (Rye, in this case) is considered passé and square. Pot use was the new hip thing among the beatniks; but the city was dry so rye it was – at least on the night in question.
The dialogue of the time is mystical and magical, and brings to life the ways of a bygone era wonderfully. I thoroughly enjoyed the chance to see this film, even n its working state – and to have Larry Kent in the room, and hearing him speak about his first foray into film – pure magic.
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I hope that once the full 4K restoration treatment has been completed, that more people are able to view this important piece of work, and that a 4K UHD blu ray version is made available at some point. This is a work that needs to be preserved for future generations of film-maker and renegade alike. I came to see this film out of curiosity and left with a sense of pride in knowing that change is possible and that art is the way in which it is all possible. Thank you Larry Kent.
Fantasia audiences will be privy to two more of Kent’s films this, with screenings of Sweet Substitute (1964) on August 3rd, and When Tomorrow Dies (1965) on August 5th.
