Magic in the Water, the film that was instantly pegged as this year’s ‘surprise’ in the 1995 lineup of Genie best picture nominees, is an unusual commodity in the Canadian theatrical market. Not only is it backed by both Norstar Entertainment and Columbia/TriStar Pictures (in addition to its Canadian producer, Pacific Motion Pictures), it’s also a kids adventure film. Not your standard theatrical genre this side of the border.

The film, starring Mark Harmon, Joshua Jackson and introducing Sarah Wayne, spans a summer holiday with a single dad, his 10-year-old daughter and his teenage boy. The trio’s ability to believe in magic is tested by the local legendary monster, Orky, who resides in the lake at which they are vacationing. The girl is young enough to believe, the boy is just old enough to really enjoy the taste of cynicism, and Dad – Dr. Jack Black – is a no-nonsense shrink.

Norstar is keen to tackle the kids theatrical market, as evidenced with its latest feature, Salt Water Moose. ‘It’s probably the most burgeoning genre in the business, considering worldwide home video and tv,’ says distribution vp Andy Myers.

Magic in the Water was a labor of love for veteran producer Rick Stevenson, who coproduced (with Matthew O’Connor/cowrote (with Icel Dobel Massey) and made his directorial debut with this picture.

All the more disappointing, then, that the movie took a dive when it hit the theatrical market late last summer despite a wide simultaneous release in Canada and in the States. After its first week, the picture did $200,000 on 90 screens including a dubbed French version on 14 screens in Quebec.

The film, still running at present on the matinee circuit, has grossed about $350,000 to date, and Myers expects it will top out at about $425,000. He considers the results modest overall and ‘very disappointing’ relative to what Norstar spent on the release.

However, Myers thinks the title will do gangbusters in home video. ‘Most of the studio release family films that did lackluster business at the box office have gone on to do extremely well on tape.’

Magic in the Water appealed to Myers because it came with a substantial publicity and advertising campaign attached to the studio and it had tested well in North American markets. ‘The amount of money earmarked for the theatrical release was commensurate and we felt the film had a realistic chance of working,’ he says. But with a change in schedule from May to Labour Day weekend, his outlook was significantly altered.

‘Needless to say, Labour Day weekend did cause us some concern. We were never enamored of that date, and I think we may have squandered an opportunity by releasing the film then,’ says Myers.

The p&a campaign came with all the usual bells and whistles, including touring the stars and Stevenson, poster displays, promotional screenings, giveaways and a heavy emphasis on a tv campaign that Myers positioned with ytv.

Myers says not only is tv in general key to tackling this market, ytv was specifically well worth the investment. ‘It was our first time (with them) and it was to our advantage.’

There were no merchandising ties despite attempts on behalf of the studio and Norstar to get Nabisco in the States and Christie in Canada to support the release with cash and, since Oreo cookies figure prominently in the picture, product.

Myers says despite everything he holds out hope not only for this picture, but for other family films in the Canadian market. ‘There’s a light at the end of the tunnel.’

In addition to best picture, Magic in the Water is nominated for best cinematographer for Tom Burstyn, achievement in art direction for Clyde Klotz and Michael O’Connor, achievement in overall sound for Michael McGee, Paul Sharpe, Dean Giammarco and Kelly Cole, and achievement in sound editing for Jacqueline Cristianini, Anke Bakker, Marc Chiasson, Irving Mulch and Sean Kelly. Stevenson was also nominated for the Claude Jutra Award.