Review: ‘The Sticky’ is an enjoyable Canadian caper led by Margo Martindale
As a seasoned viewer of both comedic and crime-themed shows, I must say that “The Sticky” has managed to create a unique blend of these genres with a dash of French flair. The performances, particularly by Margo Martindale as Ruth Clarke, are nothing short of outstanding – her portrayal of an angry, frustrated, and desperate woman is both captivating and relatable.
From 2011 to 2012, a whopping 3,000 tons of maple syrup, valued at approximately CA$18.7 million, were mysteriously stolen from a warehouse in Quebec over an extended period. This daring theft, later dubbed the “Great Canadian Maple Syrup Heist,” was a significant event in Canada, known for its maple leaf emblem and being the world’s primary supplier of maple syrup. However, there’s no denying that it also carries a touch of amusement.
As a devoted cinephile, I’m excited to share that starting this Friday, you can catch “My Sweet Conflict,” now streaming on Prime Video. This gripping series revolves around the clash between the Quebec Maple Syrup Federation (Fédération des producteurs acéricoles du Québec), a powerful entity controlling the syrup flow, and independent producers who view them as autocratic, heavy-handed, and unjust.
Writers Brian Donovan and Ed Herro (“American Housewife”) have reworked the essence of this plot into a mostly amusing small-town comedy, albeit one with an unusually intense edge. This series, positioned strongly in favor of the individual versus the institution, sets a tone that is distinctly unapologetic. The premise, starting with the unearthing of a body in a barrel of syrup while a rendition of “La Cucaracha” by mariachi musicians plays, gives you a good sense of the offbeat and humorous direction “The Sticky” will follow.
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Executive producer Jamie Lee Curtis describes the show as having the characteristic elements of “Fargo” and also boasting genuine depth, authentic emotions, and true-to-life feelings, when discussing the narrative about a maple syrup heist in Canada.
Up front stands Margo Martindale’s character, Ruth (potentially influenced by the anti-syndicate activist Angèle Grenier), who encounters a seemingly official individual removing taps from her maple trees, declaring that she operates without a license. Her husband, Martin (Joseph Bellerose), is officially registered but currently comatose; against the advice of her doctor sister, Florence (Vickie Papavs), Ruth insists on keeping him at home, fearing he might perish in a hospital. The puppet master behind this situation is Leonard (Guy Nadon), the petty dictator of the Quebec Maple Association, who views his organization as his personal domain and aims to seize neighboring farms, including Ruth’s. In this Canadian setting, he embodies the role of Mr. Potter in Bedford Falls.
The caper originates with Remy (Guillaume Cyr), the underappreciated lone security guard at the syrup warehouse, where thousands of barrels are kept as a “strategic reserve;” even as his bosses reject his proposal to hire more security, he has been quietly making off with a barrel a month with the help of a friend, Orval Steeks (Jason Cavalier), who sells it on the maple syrup black market. (That is a real thing.)
At the age of forty and feeling stagnant, he receives motivation from his loving mink farmer father, Michel Perron, to dream big. This sparks thoughts of grandeur within him. His path crosses with Mike (Chris Diamantopoulos), a seemingly ineffective local emissary of a Boston crime syndicate. Through Mike, connections are made with Ruth, who is presented as an old acquaintance; their past, particularly Mike’s history with Martin, remains unclear for now, but it’s hinted that more details may emerge in a potential second season. With these newfound allies, a group comes together. (The story ends abruptly here.)
The methods used in this fictional theft closely resemble those of a real-world counterpart – stealing barrels, draining syrup, filling them with water instead, and returning them to their original spots. However, unlike the actual crime which spanned over months, this one must be completed within just a few days due to an artificial time constraint. It seems illogical, except as part of a TV show’s plot.
Crime as a form of self-actualization has an honorable comedy history — “The Producers,” “Going in Style,” “Cat Ballou,” “Our Flag Means Death,” just off the top of my head — and by making their thieves underdogs, the creators ensure we will root for them, however foolish their plans. Unfortunately, that body at the top of the show throws a wrench in the works, making it harder to care whether the trio succeeds, or to understand, once it is made plain, why they even go on together. Syrup is just syrup and money is just money, but murder is … murder. It’s a black comedy, sure, but meant in some way to be heartwarming. Your discomfort may vary, of course.
In an uncommon leading performance, Martindale dominates the series, allowing her to fully express herself. Her character, Ruth, is a complex blend of anger, frustration, sadness, toughness, tenderness, aggression, and recklessness, but is limited by her situation; she is determined to maintain her farm to care for her husband. In a striking scene, she barrels through town, yelling and laughing maniacally while pulling a tree behind her truck, causing it to smash through the glass facade of the association headquarters. (Initially intended for Jamie Lee Curtis, who unfortunately couldn’t participate, but makes a cameo appearance; without giving too much away, you can catch a glimpse of her in the show’s promotional material, holding a gun and saying, “Open the door, Mike. I am freezing my balls off.”)
Viewers of “The Sticky” will find strong similarities to “Fargo”, as both share elements like snowy landscapes, fur hats, larger-than-life characters, and a dose of crime (though significantly less violent than its counterpart). The law enforcement figures in this series are local officer Teddy (played by Gita Miller) and Montreal homicide Det. Valérie Nadeau (portrayed by Suzanne Clément). Teddy’s admiration for Det. Nadeau is evident, as she expresses her awe upon seeing her, commenting on the need for a better hotel. In “Fargo”, these characters would likely play more prominent roles; however, in “The Sticky”, they are utilized less frequently than one might expect.
Each installment concludes with a French pop tune that reinterprets an older American pop hit, making it quite enjoyable if you’re fond of French renditions of classic American pop music. Are you with me?
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2024-12-06 02:31