Tales from the Gimli Hospital 1988

In the present day, a dreary atmosphere envelops Gimli’s hospital, starkly contrasting with the rich storytelling legacy of Iceland. Here, a dying mother shares an ancient tale with her two young children, weaving a narrative as intricate as a time-worn tapestry, connecting them to Gimli’s historical fabric. As they listen with rapt attention, they are transported back in time, to a poignant era where Einar, played by Kyle McCulloch, battles the harsh realities of a smallpox outbreak, finding himself in makeshift hospital wards situated over an animal stable.

Einar’s journey is fraught with silent despair, marked by his attempts to forge connections with fellow patients and the lovely young nurses who care for them. His neighbor, Gunnar, portrayed by Michael Gottli, stands out as a more skilled storyteller and artisan, charming their caregivers with his exquisite birch bark carvings. Meanwhile, director Maddin makes a brief appearance as a surgeon, performing procedures with precision while distracted patients watch a poorly executed puppet show.

As Einar’s narrative unfolds, so too does Gunnar’s intricate background, shadowed by grief and heartache. The unearthing of Einar’s fish-carving shears triggers a torrent of memories for Gunnar, compelling him to confront the painful legacy left by his wife, Snjófridur, played by Angela Heck. Through poignant flashbacks, we witness the tender moments of their courtship, tragically cut short by her premature death due to smallpox. This heart-wrenching recollection is underscored by Gunnar’s aboriginal friend’s traditional rites for Snjófridur, who honors her memory by placing tokens and gifts on an elevated platform.

Einar, too, harbors a troubled past that surfaces as he narrates the circumstances of acquiring Gunnar’s shears: a chance encounter with a lovely woman’s corpse on a similar platform, where he absconded with her tokens and experienced a morbid intimacy. The lines between life and death begin to blur, intertwining Einar’s story with the mystical elements that haunt Gimli’s hospital and its patients.

As Gunnar’s rage brews, he finds himself unable to unleash his vengeance upon Einar immediately. A sudden fire breaks out on the hospital roof, prompting the Icelanders to extinguish the flames by dousing them in milk. This odd solution only serves to blind Gunnar with a milky haze. Meanwhile, a recently deceased minstrel is laid to rest, and his memory seems to ignite Einar’s dark intentions. He considers using the very shears he stole from Gunnar’s wife to disfigure him.

In a fevered state, both men exit the hospital only to encounter Lord Dufferin delivering an address. Einar’s hallucinations transform the noble lord into the mythical Fish Princess, intensifying his malevolent plans against Gunnar. The two adversaries then find themselves in a verdant field, where they partake in a primal Glima Wrestling match – a traditional display of strength that culminates in them grappling for dominance and ultimately exhausting themselves.

In a later scene, Einar retreats to his modest dwelling, which doubles as a fish smokehouse, where he is unexpectedly visited by a healed Gunnar, now accompanied by his newly engaged partner. As they stroll along the picturesque shores of Lake Winnipeg, Einar’s envy simmers, underscoring his solitude as the emblematic Einar the Lonely.

The film’s tale then leaps back to the present day in Gimli, where the children learn of their mother’s passing. They implore Amma, the elder storyteller, to fulfill the maternal role, but she gently declines, offering to visit only if their father agrees. Curious about the afterlife, the children listen attentively as Amma prepares to share another enchanting story, leading the film to conclude on a reflective and poignant note.