Defenders of democracy or stubborn investigators, journalists are also fictional characters. Their multiple incarnations have often changed the public's view, but what about that of the main stakeholders? In series 7e art and 4e power, Duty gives the floor to journalists from all backgrounds to find out their perception of the profession through cinema.
After her debut at Radio Nord in Abitibi in the early 1980s, Martine Defoy, then a young journalist from Amos, joined the force at -. She will work in Saskatchewan, then in Ontario, and finally in Montreal. For many years, on the airwaves of ICI RDI, Martine Defoy got up well before dawn with the mission to inform. In July 2023, she put an end to this (very) morning ritual, announcing her retirement after 40 years in the profession. One of her colleagues then pointed out to her that ICI RDI viewers were going to miss her. The anchor of the morning news didn't believe it, but a year and a half later, she admits that the public's signs of affection still surprise her, while pleasing her. Same thing for the invitation of Duty to talk about cinema. She was a little hesitant at first, but quickly caught up in the cinematic memories, where her love of music (she plays the violin), her love of dance (Saturday Night Feverby John Badham, embellished his youth) and, of course, his love of current affairs.
How did your interest in cinema begin?
For as long as I can remember, I have always loved cinema. During my literature studies at CEGEP, I took a film course, but it was above all the Festival du cinéma international en Abitibi-Témiscamingue, in Rouyn-Noranda, which really opened my horizons. In fact, I saw it born, in 1982, and grow thanks to the hard work of people like Louis Dallaire and Jacques Matte, a super-endearing personality who devoted his life to cinema. I was working at Radio Nord at that time, and we were covering it. Needless to say, it was an object of great pride, especially when we saw all the stars arriving from everywhere parade by.
However, if I had to choose one moment that sums up the impact the Festival had on me, it would be watching the Wings of Desire (1987), by Wim Wenders, whom I would name. I have fond memories of finding myself watching such a unique film. Its poetic side, both dark and luminous, the black and white images, the mysterious aspect of the actor Bruno Ganz, all of this seduced me.
My father wasn't a big movie buff, but I remember him being very impressed, and me too, by Apocalypse Now [de Francis Ford Coppola, 1979]. As for me, I was especially fascinated by Marlon Brando's performance, another one where he embodied what he did best: excessive characters. I also have a particular affection for two other actors that I place in the same category: James Dean and Marilyn Monroe. Because of their incredible lives and their tragic destiny, they form a sort of cinematic triangle… or an infernal trio!
Do you believe that cinema had any influence on your choice to become a journalist?
I don't think so, but it certainly aroused an interest in understanding the society in which I live and allowed me to grasp different realities. During my studies, I already had an interest in Quebec cinema, which meant that I was able to discover several notable films, such as Good riddance [de Francis Mankiewicz, 1980] or Comfort and indifference [de Denys Arcand, 1981]. These are works that appealed to me as a student, but especially as a citizen. Among them, I can never forget Die loudly [1979]by Anne Claire Poirier; I got this one in the face. It's not that I necessarily wanted to see it, but at that time, the question of rape – and the word itself… – was never talked about. So, showing it on screen was very courageous. But, honestly, I'm not sure I'll see him again. And if there is a link between all these films, it is this desire to be told stories, but well anchored in reality, and the desire to do something to transform it.
Do you believe that cinema offers a fair image of the profession of journalist? And more particularly that which we practice on television?
Well, now I feel like it's time to talk about Broadcast News [de James L. Brooks, 1987] [rires]. I still have this image of one of the characters in my head [Joan Cusack] who runs with his video cassette, an emblematic scene which describes the excitement of this environment at this time, this feeling of always being on the tightrope. I remember the time when I worked in Abitibi, having to have a cassette delivered by bus hoping that it would arrive in Montreal on time. That said, in this film, as in the series The Morning ShowI find that there are a lot of exaggerations, and that it describes the American reality more than ours, including the obsession with stardom. And William Hurt putting drops on himself to bring tears to his eyes during a news bulletin, what a cliché!
We must therefore understand that you have never done this!
Non [rires] ! And in my former professional circle, even less! On the other hand, in The Morning Showthe clothing issue of women on screen is well addressed. As a presenter, it seems like we don't really have a choice, we're stuck with an image. People still ended up knowing me, by perceiving my true personality, which could be described aseasy going.
In addition, the arrival of the Information Network [RDI, en 1995] allowed several women to take their place on the air at the same time, including as news readers. We sort of shared the land. And maybe it was the effect of numbers, but I think we didn't consider ourselves stars, more like artisans.
Would you go so far as to say that newsrooms may not be particularly inspiring places to make the best films about journalism?
I don't know. Perhaps these films are too close to a reality that I know well for me to be fully objective. Most often, I only see exaggerations. Conversely, consider The Insider [de Michael Mann, 1999]has Spotlight [de Tom McCarthy, 2015] or to She Said [de Maria Schrader, 2022]. Many people have mentioned them since the beginning of this series, and they are right: they are very good films, inspired by real investigations, which show work that we almost never see and little-known facets, like reconciling motherhood and journalistic work (in She Said). These investigations, in a way, shook the world. I admit that I would dream of seeing films that would allow us to show how journalists such as Thomas Gerbet, Romain Schué and Marie-Maude Denis carry out their investigations. This is real in-depth work that I find remarkable. Besides that, Broadcast News…
You have started playing the violin again, which demonstrates your love of music, but you also cultivate a great passion for dance. Are musicals among the genres you like in cinema?
Knowing that I was going to participate in this series, I wondered about my first motivation to see films. It always comes down to the same thing: the actors! For example, to stay on the musical comedy theme, I have boundless admiration for Barbra Streisand. She has an extraordinary personality and a fiery temperament. She transcended criticism of her physique, both in The Way We Were [de Sydney Pollack, 1973] et Funny Girl [de William Wyler, 1968] that in A Star Is Born [de Frank Pierson, 1976]. His professional trajectory is prodigious, everything seems to succeed, but there is a lot of work behind this apparent ease. In another register, I am dazzled by the talent of Théodore Pellerin, both in the theater [Embrasse, de Michel Marc Bouchard] than on television [Becoming Karl Lagerfeld, de Jérôme Salle, 2024] and in the cinema, including in the films of Sophie Dupuis. Obviously, as the daughter of Amos, I have a soft spot for Underground [2020]but it is equally remarkable in Watchdog [2018] et Solo [2023]. Finally, I have to admit that my love for these actors reveals part of who I am.
