Author’s Note: I have done PR work for WinterLight Productions – who made Colour Of Spring – but have not done PR for this film as of this review.
There’s always something to be said for a film that goes its own way — willing to buck trend and convention to tell a story all its own.
I may not agree with every stylistic choice writer-director Paul Andrew Kimball makes in his edgy, endlessly intricate The Colour Of Spring, but do I ever respect his willingness to break out of the Hollywood shell.
A Halifax icon and mainstay with Eastlink-partnered WinterLight Productions, Kimball and the production company remain enthusiastic about creating true, blue art – challenging pieces of cinema in a time where we mostly get fluff.
The Colour Of Spring, an intense ride with very deliberate pacing, script choices and black-and-white visuals is another dare to the audience to come along for the sojourn, even if it takes them places they didn’t envision entirely.
At its heart, it’s the love story of stage actress Sarah and her underachieving telemarketer boyfriend Sam, and their perfect romance. That is, until meddling in their relationship by others causes them to reach a breaking point.
The decision to use no score, and present a black-and-white picture is one that works, as the relationship feels classy and old-timey in the best way. Our actors here get a chance to breathe and chew the scenery, their emotions on full display.
Beautiful British-Canadian actress Alexa Morden is fantastic here, with a performance that anchors this film. To his credit, Jamie Muscato rises to the occasion and he and Morden make a highly watchable couple out of Sarah and Sam.
Local actress Holly Stevens is wicked here, and one only wishes she had more to do. All in all, the cast makes the most of their scenes, even when the script feels disjointed. The Colour Of Spring sometimes feels like two films, where not all the bits from the minority genre got left on the cutting room floor.
Always interesting, The Colour Of Spring is a triumph at its best, and confounding at its worst. But kudos to Paul Andrew Kimball, there’s never a moment where you won’t be entirely engaged.