Latest News

a, Arts & Entertainment

Could be good

MUSIC

Herbert Grönemeyer

Germany’s all-time best-selling musician Herbert Grönemeyer, fresh from the release of his new album I Walk, plays one of two Canadian dates of his live tour in Montreal.

Thursday, Sept. 19, 8:00 p.m., le National (1220 St. Catherine). Tickets $35-$102.50.

 

DANCE

Loops

Originally performed underground, in Montreal’s metro system, Loops is a reflection on the fast pace of daily urban life. This time around, it makes its premiere on stage in Montreal after a successful series at the Lincoln Centre Institute in New York City.

Thursday, Sept. 19, and Friday, Sept. 20, 8:00 p.m., Montréal, arts interculturels (MAI) (3680 Jeanne-Mance). Student tickets $15.

 

FILM 

films4peace

Old Montreal’s PHI Centre screens films exploring the subject of peace, for World Peace Day (Sept. 21). Mediums of film include 33 mm live action, experimental animation, and fine art.

Saturday, Sept. 21, 12:00 p.m. – 6:00 p.m., Centre PHI (407 Rue Saint Pierre). Admission is free.

 

MUSIC

The Cheap Speakers

Toronto rock band The Cheap Speakers play for the second time in their Canadian east-coast tour in Montreal, with Montreal trio Dany Laj and the Looks, following the release of their new album Switches and Levers last spring.

Saturday, Sept. 21, 9:00 p.m., Bistro de Paris (4536 St. Denis). Admission $5.

 

MUSIC

The In ‘n’ Outs

Montreal trio The In ‘n’ Outs play the grand opening of local rock climbing centre Zéro Gravité, following the release of their album Zero Gravity this past year. In an acrobatic performance, the band promises live music in mid-air for the duration of their show.

Saturday, Sept. 21, 8:00 p.m., Zéro Gravité (4519 Papineau). [Ticket price unknown]

a, Science & Technology

3D printing takes the stage in modern market

In the future, children may not be pasting their coloured pictures to the fridge. Instead, parents can breathe life into these drawings by adding a 3D model to their kitchen.

Lately, the hype around 3D printing—the technology used to create these models—has exploded with buzz about its extraordinary capacities and potential to revolutionize industry. 3D printing is an additive manufacturing process that constructs a three-dimensional solid object from a digital model.

However, the process is far from new. In 1983, the same year that the camcorder and the CD were invented, inventor Chuck Hull developed the concept of 3D printing. He founded the company 3D Printing Systems in 1986—though this technology’s real economic and societal impact did not come to life for almost 30 years.

There are two original components that drive Hull’s idea today: the novel method of additive manufacturing, and accessible computerized blueprints.

Additive manufacturing is unique to 3D printers. While traditional manufacturing methods relied on melting, molding, and breaking down large pieces of plastics and metals into a final form, the new additive mode of manufacturing efficiently builds up the desired object using micro-layers of plastics and metals. By taking a blueprint of an object, the 3D printer adds layer after layer using powdered plastics or metals that are solidified via a laser or UV ray into a final form.

Beyond these benefits of efficiency, digital 3D printing is also more accessible to the public and manufacturers than immutable molds and leviathan manufacturing machines. The technology is moving in a direction where the general consumer will have more access to its uses, compared to the past when only high technological engineering firms used these devices. There are even 3D printers available for personal use, going for less than $1,300.

The accessibility of 3D printing technology to the public is exactly what restricted Hull’s technology in the ’80s and has allowed it flourish in the past few years.

Far more in depth than our everyday printers, the three-dimensional systems require special computer-aided design (CAD) software in order to design the object through the computer. In the 1980’s, this kind of software was far more esoteric and less efficient, taking months to generate a single prototype. 3D printing has spent much of its lifetime trucking along in specialized engineering firms.

Today’s more advanced computer technology has expanded the horizons of 3D printing systems. The printers have made their way into numerous branches of industry including medical work, military, and other forms of research.

For instance, because of the printers’ ability to build unique objects from a malleable blueprint, the technology has proved invaluable in building medical apparatuses including hearing aids and orthopedics.  Since every patient has slight differences in form and structure—such as in ear size and shape—additive manufacturing has assisted in creating devices like hearing aids by adjusting a blueprint for each patient, making hundreds of plastic molds.

This technology has also been used in the military sector. The VICE videos on YouTube went viral showing functioning assault rifles built through the 3D printing process.

Researchers at McGill have also used the technology to design precise prosthetics that attach to a dancer and play music as the performer moves.

Some critics, however, remain skeptical of the new process’ future in manufacturing. For example, Terry Gou, head of Foxconn electric manufacturing goods, stated to Taiwan media that, “3D printing is a gimmick [….] If it really is that good, then I’ll write my surname ‘Gou’ backwards.” Offering to rewrite the spelling of one’s family name is a bold statement in Chinese culture.

Despite some doubt, 3D printing has surfaced as a novel and promising technology. Where precision and selection are needed, 3D printing has proved an invaluable technology, continuing to expand the horizons of modern manufacturing.

a, Science & Technology

Taking the ‘science’ from science fiction: Iron Man 3

Science fiction is a genre known to warn us of the dangers of technological progress, but sometimes it acts as the one to inspire it. In the ’60s, viewers of Star Trek would never have imagined that small pocket phones, microwaves, or automatic doors could be possible in 20 years.

Although we can’t pinpoint exactly what inspires the scientists of today, it is always interesting to look at what technologies are included in modern movies and how close we are to achieving them. This week, we take a look at some of the science that may have inspired Iron Man 3, released this past summer.

3D User Interfaces:

One interesting feature the Iron Man films continue revisiting is the concept of a 3D user interface. Throughout the series, superhero Tony Stark plays around with holograms of his blueprints in order to design his weapons. Though currently just a novelty on screen, this technology has the capacity to play an especially useful role in many fields today.

Inventor Elon Musk and his team at SpaceX, a California space transport company, recognized this application when they designed a 3D user interface to aid in modeling and designing rocket parts and engines. The program uses a Leap Motion controller—a small device with two cameras and three infrared LEDs which allows users to interact with the wireframe of an object that is projected on a screen, similar to Stark’s manipulation of his blueprints. The model can then be produced using a 3D printing technique called Direct Metal Laser Sintering (DMLS).

The user currently only has rudimentary motion control of the model, but this is simply one application of the technology in action. There are other examples of 3D user interface concepts currently in use that have been developed by other groups. The applications range from controlling a robotic arm to browsing an anatomical model during surgery, all of which are accomplished by manipulating a wireframe on screen.

Regenerating Limbs:

Another interesting idea in Iron Man 3 was the Extremis project, developed by Iron Man’s enemy, the Mandarin, to regenerate body parts. The super strength and fire breathing abilities were fun in their own right, but the way it restored amputated limbs was the truly interesting and much more realistic application.

Salamanders and other animals like starfish are able to regenerate their limbs. In fact, adult salamanders can regrow their spinal cord, heart and even parts of their brain.

The regeneration observed in organisms like the salamander is accomplished through a complex system of chemical reactions and immune cells working together at the  injury site to repair the wound. It also involves the de-differentiation of cells to their original state: the stem cell. Unlike other cells, stem cells have not yet differentiated into a particular type of cell—like a heart or muscle cell—meaning they have the potential to proliferate into any type of tissue. Therefore, stem cells can adopt the properties of the salamander’s lost tissue in order to replace the limb.

A similar regeneration system is present in mammals; however, due to the scarcity of stem cells, the effect is not quite to the same capacity. Nonetheless, it is well documented that fingertips in humans can heal to about their original state after an accident.

Recent studies in genetically engineered mice suggest that the Wnt-signalling pathway, a signaling system that transmits information from outside the cell to within, is involved in the regeneration of amputated fingertips. Assistant Professor of Dermatology Mayumi Ito from the New York University’s School of Medicine reported his discovery of self-renewing stem cells located in the nail matrix (the part of the nail bed that stimulates nail growth) in a paper published June 2013. This finding, among others, supports the concept that fingertips are able to regenerate to their original state after injury.

The regeneration of limbs is not a novel idea, but it has been researched extensively in recent years due to advances in genetic and biological techniques. These new studies have offered an outlook on the biology of regeneration that may even lead the way to one day restoring an amputee’s limbs.

a, Opinion

Bike-gate

Living in Montreal, there’s a lot to be proud of, even more to be healthily suspicious of, and sometimes, quite a bit to complain about. Construction blocking your path for the fifth time this week? Narrowly avoided getting sideswiped by a rampaging cabbie yet again? Tuition fees continuing to rise while your wallet only gets lighter and lighter? These are all valid concerns, and are all felt by many of us here at McGill. Sometimes, however, people get up-in-arms about something so trivial that it begs the question of why anyone cares in the first place.

The latest controversy to stir up the community comes courtesy of a recent project by McGill University Services, which some see as an attempt to build an imposing, fortress-like enclosure out of our once peaceful and scenic campus—no doubt with the intention of frightening the university’s 38,779 students into simultaneous obedience. “What could possibly be so terrifying and/or dramatic?” you may wonder.

As it happens, bike barriers were installed at the Milton Gates over the summer. Three foot tall, dinky, metal bike barriers. ‘Gate’ is a bit of a misnomer, considering that anyone with an agenda can easily barge (or cycle) right on through if so desired. They even swing.

As anyone who has wandered down University Street can attest, the Milton Gates entrance is jam-packed full of students, professors, and assorted Montrealers on any given day. If you were to poll a random sample of these commuters, chances are very few would welcome getting run over by a speeding cyclist, which is why these barriers were installed in the first place. A recent article by the McGill Reporter describes “at least four incidents of collisions between cyclists and pedestrians in recent years,” as well as numerous anecdotes about near-misses; the implementation of these bike barriers, modest though they may be, is purely in the interest of public safety.

And even if it weren’t, these gates are so unobtrusive that for most of us, walking through them doesn’t even register as an event, much like opening a door, or putting on pants in the morning. If ever there was a definition of anti-climatic, it is the gentle brushing aside of a weakly protesting turnstile. The whole process is forgettable and insignificant in the extreme, yet these gates’ mere existence has provoked members of the student community to the point of necessitating a 700-word essay denouncing them (in which, by the way, these relatively innocuous turnstiles are painted as instruments of anti-environmental, anti-francophone, and anti-intellectual sentiment, all in one go).

The fact that such an argument is considered worthy of anything but the paper shredder indicates one of two things: a lamentably slow news week around McGill’s downtown campus, during which absolutely nothing of note occurred—or, failing that, the beginning of the end for journalism.

Between its vibrant social scene, dubious political schemes, gang presence, monetary issues (felt especially at McGill), and more, there’s quite a bit to write about in this city, and even more to gripe about, if one were so inclined. This isn’t to say that we shouldn’t protest things with which we disagree; that’s how democracy works, after all.  If you don’t like something, tell the people in charge and if enough people share your view, that something may get changed to a better something.  But whining about bike gates? That’s just a waste of time.

a, Opinion

Assad against the world

“I don’t oppose all wars. What I am opposed to is a dumb war.”

On October 3, 2002, a young state senator gave an impassioned speech at an anti-war rally in the face of interventionist musings by the Bush White House. Two weeks later, the United States House of Representatives passed the Iraq Resolution, a move that began one of the longest military blunders since the Vietnam War. On the bright side, the political gods smile favourably on the few who challenge such neoconservative attempts at nation building. The state senator, Barack Obama, went on to win his 2004 Senate race and gain edtraction in the 2008-election cycle.

It is doubtful that Obama would be where he is today had he championed a campaign that shed inconceivable amounts of blood and treasure. His election brought a collective sigh of relief to the global community—not only because we fell in love with his words, but also because we believed he would stand for a foreign policy in which facts and reason would triumph over passion and greed.

Thirty-two years before the great orator condemned the invasion, a young Alawite general came to power in Sunni-dominated Syria through a bloodless coup. Hafez al-Assad began a 30-year rule that oversaw massive economic growth, the establishment of a neutral foreign policy, and the empowerment of women and children through secularism and public education. However, his regime would be stained by a single, brutal event: the Hama massacre. In 1982, a siege on an Islamist stronghold saw Assad’s air force kill 20,000 militants and civilians. This tragedy is not disputed, but the western media typically neglects to mention what led to it. From 1976 to 1982, Syria experienced an Islamic uprising led by the Muslim Brotherhood, in which civilians, government officials, and, most notably, schools for girls, were targeted by suicide bombings and assassinations. The horror of this insurgency, amidst Assad’s attempt to build a modern Arab state, terrified secularists, liberals, women, and religious minorities, the same groups who today fear what a rebel victory could bring.

That state senator is a different person today. Now president, Obama has advocated launching a “tactical strike” on yet another Arab nation, an incursion that will likely cost billions, devastate an already-crippled state, and provide Islamist rebel groups favourable conditions necessary to massacre countless Alawite, Christian, and Shi’ite Syrians. Clearly, Bashar al-Assad fails to meet the western standard of statesmanship. However, the current media image of him ignores the bigger picture. The regime he inherited in 2000 was one of the most progressive in the Arab world, and Bashar al-Assad liberalized Syria’s economy and press to an extent unthinkable under Hafez, while simultaneously welcoming back and liberating thousands of Syrian exiles and political prisoners. Although he has been merciless in preserving the nation that his father built, it is inconceivable to think that a sharia state would be a suitable alternative to the modern society that still endures in the Fertile Crescent today.

It is laudable that the Obama administration is now taking a step back from its earlier threats of military action. It appears that Secretary Kerry, who once was on good terms with the Syrian dictator, has been leashed following brash statements which wildly oversimplified the situation. If he is any student of history, specifically the fates of American leaders who intervened in internal foreign conflicts, the president would leave Syria alone.

a, News

Where is my tuition going?

When it comes to paying your e-bill, you may wonder just where all that money really goes. While tuition fees vary greatly based a student’s place of residence, academic program, and degree, here is a brief description of the main categories of fees that you pay every semester at McGill.

 

Tuition fees 

Tuition fees are the base fee of any student bill, and assist the university with expenses such as staff, libraries, course offerings, and maintaing facilities. At McGill, tuition fees are influenced by several factors, including residence and citizenship status. The Quebec tuition rate increased by 2.6 per cent in the 2013-2014 school year, amounting to $2,224.20. Tuition for Canadian students from outside Quebec will be charged an extra 8.5 per cent for an out-of-province supplement on their tuitions, resulting in a $4,010.70 supplement fee. International students vary in the tuition they pay according to their program, ranging from $14,949.00 for a Bachelor of Arts to $35,250.00 for a Bachelor of Commerce.

 

Administrative charges

McGill collects certain administrative charges that have been approved by the university’s Board of Governors. These include a Registration Charge ($7.37 per credit), an Information Technology Charge ($7.19 per credit), a Transcript and Diploma Charge ($1.31 per credit), a General Administrative Charge (up to $46.17), and a Copyright Fee ($0.85 per credit).

 

(Maryse Thomas / McGill Tribune)
(Maryse Thomas / McGill Tribune)

Student services fee

Including a Student Services Fee ($141.50 per term) and an Athletics and Recreation Fee ($127.75 per term), the University Student Services Fees are approved by the Board of Governors and regulated by the Students’ Society of McGill University (SSMU). The funds are used to provide services to all McGill students, such as counselling and tutorials, the First People’s House, Career Planning Service (CaPS), Scholarships and Student Aid, and athletics facilities on both the downtown and Macdonald campuses.

 

Student-initiated fees

Student-initiated fees fund services provided to McGill students by student organizations. Examples of these include AccessMcGill, which makes McGill accessible to students with disabilities ($2.00 per semester), Student Television at McGill (TVM) ($1.50 per semester), and Midnight Kitchen ($2.25 per semester). Student-initiated fees must be approved through a SSMU referenda, and are renewed on a regular basis.

 

University and student insurance plan

SSMU offers a Health and Dental Plan, administered by ASEQ (Alliance pour la Santé étudiant de Quebec), a Quebec medical insurance company for both in-province and out-of-province students. The annual Health Plan and Dental Plan charges fees of $120 and $100, respectively. International students are charged for the International Health Insurance plan, which is approximately $951 per student.

 

Student society fees

All students are included in both their respective student society—SSMU for undergraduates and Post-Graduate Students’ Society (PGSS) for graduates—and their faculty association. Student Society Fee differs according to faculty, ranging from $356.94 for Science students to $736.12 for Engineering students. Membership fees to student societies fund the various services they provide—for example, SSMU’s fee covers WalkSafe and DriveSafe, as well as funds for student groups.

a, Arts & Entertainment, Music

Album Review: Man Man – On Oni Pond

The more their career has progressed, the more Philadelphia-based experimental rock band Man Man has reined in their sound. Whereas their first LPs, The Man in a Blue Turban with a Face and Six Demon Bag, were full of frenetic yelps and bursts of energy, their latest release, On Oni Pond, finds the band following the polished direction of 2011’s Life Fantastic.

On Oni Pond finds the band at its most stripped down in every way, most notably its lineup. Instead of the full band featured on past albums, only gravelly-voiced lead singer Ryan “Honus Honus” Kattner and drummer Chris “Pow Pow” Powell are featured. Their early efforts had the tendency to overwhelm, but On Oni Pond demonstrates calculated complexity: it retains layers and hooks without the spasticity of the band’s back catalogue.

This refined sound is best exemplified in tracks “Pink Wonton” and the fervent “Loot My Body;” they’re both ripe with accenting horns, guitars, and keys, but still maintain melodic focus. Other songs, including the plucked string-driven “Head On” and sombre ukulele ballad “Deep Cover” show the band diving headfirst into more mainstream pop territory. The album’s largest drawback is its lack of cohesion between songs; it alternates between high-and low-energy tracks with jarring transition, making it difficult to digest all at once.

Man Man’s refined sound maintains the energy of their earlier albums, allowing each song to shine without being overcrowded with frenzy. While the record tends to cover too wide of a musical berth, the individual songs prove that the duo’s penchant for hooks still shines through.

a, Sports

Sports briefs

Redmen Baseball 

Vs Concordia

The Redmen baseball team took to the diamond Wednesday against the Concordia Stingers for their third meeting of the season. After tying up the season series earlier this month, McGill lost to the Stingers to the tune of an 8-1 blowout. Concordia dominated the hitting differential 9-4, capitalizing on a porous Redmen defense to convert eight out of nine hits into points.

Vs Carleton

The Redmen took on the Carleton Ravens at George Springate Park in a Sunday afternoon double-header. McGill kept the first game close, losing 4-3 to the Ravens as Charlie Crabb tossed a complete three-hitter game. However, the Redmen surged back in the second game to blitz the Ravens 15-7 for their third win of the season. Adam Gordon sparked the victory for McGill as he hit a three-run homer to left field in the fifth inning. It was a complete team effort as McGill tied its overall record at 3-3. The Redmen will face cross-town rivals Concordia once more this Wednesday, Sept. 18 at Gary Carter Field.

 

Redmen Football 

The McGill Redmen (2-1) thoroughly dominated the Mount Allison Mounties (0-2) in a 48-17 victory in Sackville, New Brunswick this Saturday. The victory marked the second season in a row that McGill has blown out the maritimers. Quarterback Jonathan Collin was instrumental in the outcome of the tilt as he threw for 367 yards while also totalling three touchdowns— two passing and one rushing. Sophomore running back Luis Guimont-Mota ran for 141 yards for his third straight week topping the century mark. The Redmen defence pitched a shutout in the second half by stifling the Mounties’ rushing attack and forcing the opposing quarterback into bad passes. McGill now faces Sherbrooke at Molson Stadium on Friday, Sept. 20 in a pivotal game that may have playoff implications.

 

Redmen Rugby 

McGill’s rugby programs travelled to the other side of Mount Royal in consecutive matchups against the Montreal Carabins. The Redmen (2-0) showed resiliency in a 10-6 victory in another tough test to start the season. Senior Joshua Blair and sophomore Estello Nap-Hill provided the offence to help lead the team to its seventh consecutive win, dating back to last season.

In the other match of the day, the Martlets (2-0) once again dominated their opposition by a score of 35-12. Star fly-half Brianna Miller led the effort for McGill with 15 points, 10 of which came from her 5-5 performance on conversions. Miller, the game’s MVP, had ample help as four other Martlets scored tries in a well-rounded team effort. The Redmen and the Martlets have the opportunity to extend their winning streaks at Molson Stadium in the home opener for both squads as the Martlets kick off at 2:00 p.m. on Saturday, Sept. 21, while the Redmen will play at 4:00 p.m.

 

Redmen Soccer

Redmen soccer earned four points out of a possible six over the weekend. In the first match against UQTR(1-1-2), McGill (1-2-1) opened the scoring in the first half as defender Dominic Bell, who had previously been injured, slotted home a pass from fellow freshman Valentin Radevich. However, the story of the game was undoubtedly the sending off of sophomore goalkeeper Max Leblond in the 59th minute. The penalty that resulted from the captain’s dismissal led to the Patriote goal. The final score was a disappointment, given that the Redmen had the upper hand for most of the match. McGill followed up the loss by defeating the Concordia Stingers (1-2), 4-2, for the squad’s first win of the regular season. Freshman forward Massimo De Ioia was a force of nature as a hapless Stingers backline was unable to stop him from scoring all four of McGill’s goals. The Redmen will now make the short trip to UQAM (2-1) to take on the Montreal Citadins on Sunday, Sept. 22.

a, Arts & Entertainment, Music

McGill alumnus Mary Alouette explores gypsy jazz on a lark

What would gypsy jazz and electronic music sound like together? Singer-songwriter Mary Alouette provides the answer on her latest EP, The Lark.

“I love both genres of music, and their styles complement each other well,” Alouette says.  “The combination is a way for me to realize musical interests that I have and to see them all.  I feel a little bit cheated if I’m only doing one—why not do everything that you enjoy?”

Her casual approach undersells the remarkable cohesion that she finds between the two styles in her music.

Alouette’s fusion of the genres was part of the natural progression of her career.  She found gypsy jazz by answering a Craigslist ad, after which it became a constant source of fascination for her.  “It’s funny how Craigslist can change your life,” she says with a laugh.

Alouette had always been interested in  making electronic music, but until working in a New York City recording studio, she hadn’t learned how to do it properly.  She took a job doing mixing and sound engineering, which led to her aquiring the necessary tools to create  her own electronic music.

A Maryland native and McGill alumnus, Alouette graduated in 2008 with a major in vocal performance and a minor in drama and theatre.  During her time at McGill, Alouette went by her birth name of Mary Kavalauskas, and later adopted Alouette as a stage name.

Currently, she lives in New York, where she can usually be found performing, recording, or composing.  Alouette sees a sharp contrast between life in Montreal and her life now.

“Montreal’s francophone culture has had a profound influence on me, almost to the point where I feel like I’m from Montreal more than from where I [actually] grew up.”

“It’s much more business-minded here in New York,” she continues.  “In Montreal there’s much more time to be creative.  There’s more governmental support of the arts and rent’s less expensive.  In New York, money is a major factor, and people are all about making it.  I feel like you have to push harder to make ideas come to you and be creative here.”

Still, Alouette has also benefitted quite a bit from her current home.

“I thrive on the energy of New York.  It’s always moving, and it suits me well.  It’s big—there are so many cultures that are brought together here.  A lot of young artists are established here, and it’s great because there’s a huge network of artists.  Most of my friends are artistically involved, so we all collaborate and work on projects together to build our own portfolios.  Ideally I’d spend half a year in Montreal creating, then come back to New York and promote the material the other half of the year.  I love them both dearly.”

a, Arts & Entertainment, Film and TV

Blue Jasmine : a riches to rags story

Jasmine French—the character that Cate Blanchett is already generating serious Oscar buzz for portraying in Blue Jasmine—behaves like she could have been plucked right off the set of another Oscar-caliber film: Titanic. Jasmine is an obnoxious, narcissistic social climber who, like the Titanic itself, is sinking dramatically throughout the movie.

In Woody Allen’s new release, Blanchett’s magnificent performance is the main attraction in Blue Jasmine, but there’s plenty more to like about the film. She is flanked by a strong cast that includes Alec Baldwin and Peter Sarsgaard; also in the mix are comedians Louis C.K. and Andrew Dice Clay. Though some of its plot intricacies seem slightly far-fetched––notably in the romance between Blanchett and Sarsagaard’s characters––Woody Allen delivers an engaging story that oscillates between light comedic phases and disturbingly heavy ones.

In keeping with the Titanic analogy, Jasmine’s iceberg is the arrest and imprisonment of her extravagantly wealthy husband Hal (Baldwin), who is exposed for being a Bernie Madoff-esque scammer. The meteoric fall from pampered New York trophy wife to menial laughingstock takes a serious toll on Jasmine: she has a nervous breakdown and develops a tendency to publicly talk to herself, in the persona of her former social identity.  With few assets left, Jasmine flies to San Francisco to move in with her adopted sister Ginger (Sally Hawkins).

Despite having no other safety net, Jasmine brings her snobbish ways across the coast, and continues to act like she is above the lifestyle of her working-class sibling. Ironically, one of the film’s many flashbacks reveals that Jasmine actually prevented Ginger and ex-husband Augie (Dice Clay) from being moderately wealthy when she convinced him out of pity to invest some modest lottery winnings in one of Hal’s projects rather than starting a business. Now it is Jasmine’s turn to be pitied, as Ginger finds her a receptionist job and tries to transition her back into life without luxury.

Blanchett’s greatest triumph is allowing us sympathize with the insufferable Jasmine—the flashbacks reveal past circumstances that somewhat explain her current instability. Her husband has long been having affairs with many of the women Jasmine socialized with, in addition to his noticeably shady business deals. But Jasmine’s biggest character flaw is her willful blindness towards anything that could threaten the lavish identity she had cultivated for herself. Even as things implode around her and she must confront reality, Jasmine never fully grasps that there is no returning to the illusion of her idyllic life. Blanchett adeptly depicts these inner struggles and exposes an acute sensitivity in an unlikable, self-absorbed woman who is afraid of losing her elite status.

Jasmine’s continuing struggle to regain social composure creates a dramatic feel in Blue Jasmine, but Allen leaves room for comedy in the script as well. Juxtaposing Jasmine with Ginger’s blue-collar crowd often makes for amusing back-and-forth quips between them. The cast’s two comics take advantage of limited screen time to make an impact. Dice Clay’s forceful personality is perfect for unleashing the animosity for Jasmine that Augie still harbors as a bitter victim of Hal’s scheme.  C.K. makes a more humorous and subtle impression as a goofy but savvy rich man that woos Ginger at a party Jasmine is invited to.

Allen is quick to raise the stakes—even when things start to seem a little implausible. For instance, Jasmine stumbles upon a widowed diplomat (Sarsgaard) at the party who takes an immediate liking to her, and never bothers to verify any of the substantial lies she feeds him before their relationship gets serious. He also fails to probe her very much after noticing the Xanax she has been taking in his presence—a bit of a red flag for a guy with federal government aspirations. When the movie reaches its harsh climax, marked by another unlikely plot twist, these such developments are a regular occurrence.

It is a classic adage to say that rich people have problems too, but Blue Jasmine finds a way to freshen up that tired idea by unraveling the complicated threads of its unstable protagonist’s story. We may not like Jasmine, but Blanchett still has us rooting for this troubled character to vanquish her inner demons, which periodically bubble to the surface in dazzlingly painful moments. Unrealistic as some of Allen’s plotlines are, the film’s rising action and climax make our acceptance of them well worth it.

Blue Jasmine is playing at Cinema du Parc (3575 Ave. du Parc) until Sept. 19. Student admission is $8.50.

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