Tag: Cuba

NYAD – Review

Sometimes we just need to see a flick that gets us motivated. To get us off our “duff”…after we watch it, of course. That was certainly the case with the original ROCKY series which carried over into the current CREED franchise (who hasn’t heard Bill Conti’s score as they begin a run). Yes, the sports genre can be inspiring, plus you can double that when it’s a true tale, a “sports-biopic”. But could you triple the “push” when the movie’s subject is still with us? It’s a good possibility when a couple of superb actresses combine talents with two Oscar-winning documentary filmmakers to tell the tale of the long-distance swimming legend known as NYAD.

This film begins with a montage of archival footage of the tile champion, as she competes in tournaments, breaks records, and is interviewed by the undisputed “king of late night”. Now that’s right as she attempted to swim from Cuba to Key West, Florida way back in 1978. But strong winds made for rough seas that prompted doctors to remove her from the “shark cage”, despite her passionate protests. The film then jumps ahead 31 years as Diana Nyad (Annette Bening) is embarrassed by a surprise 60th birthday party orchestrated by former swimming coach (and romantic partner) Bonnie Stoll (Jodie Foster). After the guests leave, Diana drops a “bombshell” on her: a return to long-distance swimming to finish the Cuba to Florida trek. Bonnie is stunned and refuses to aid Diana, insisting that the years have taken its toll. Undaunted, Diane begins her endurance training at the local pool, and eventually Bonnie drops by to see her progress…and finally agrees to this “project”. Thus begins a multi-year odyssey as the duo struggles to get sponsors, enlist a crew, plot out a strategy, and gather the necessary tools. Those being the proper swimming gear and most importantly, a “guide boat” to navigate the waves beside her. Although team Nyad has a testy first meeting, Captain John Bartlett (Rhys Ifans) agrees to be at the wheels while monitoring the weather conditions. Oh, and this time there will be no protective cage around Diana, as two men in a raft will dangle “sound wires” that emit a hum that repels sharks. They’ll be on the other side of her, but what of the other “sea menace”, the box jellyfish, whose sting can quickly kill? At least Bonnie will be there to make sure that Dyan gets her “fuel” (pasta on a pole and liquids through a very long straw). The team endures multiple setbacks as Diana strives to prove that she’s not ready to “sit it out”. But will time sap her strength and stamina?

Those two powerhouse actresses propel this film past the standard “against the odds” biopic. Naturally it all sinks or swims on the efforts of the title interpreter. As is often the case, Ms. Bening is the epitome of fierce determination as the warrior who pushes through the pain. But her take on Ms. Nyad isn’t always on a “pedestal”. In the opening scenes, we see her hesitation and discomfort in social situations. Plus there an uncertainty as she watches the “younger set” glide past her in that public pool. Then we see Bening “re-charged” as the big day nears. And there’s much more of that fighting spirit as she pushes hard against the well-meaning efforts of her crew. Most protective is Bonnie played by Ms, Foster as the very definition of a supporting role. We can see her frustration as, like Pacino in his third time as the Don, she’s “pulled back in”. Foster shows us how the hours at sea wear on Bonnie, as she tries to gauge the condition of her friend, protecting Diana even as she rebuffs her concerns. Much the same can be said of Ifans as the crusty “old salt” who breaks through his own negative space to embrace Nyad and Bonnie’s dream of beating “ole’ King Triton”. Ifans shows us how Bartlett slowly embraces his role on the team, even letting a bit of optimism into his noggin’.

It’s hard to fathom (sorry) that this is the first narrative feature for directors Elizabeth Chai Vasarhelyl and Jimmy Chin as they make several bold narrative choices that create as much tension as their Oscar-winning doc feature FREE SOLO, a true “nail-biter”. Working from Julia Cox’s screenplay adaptation of Nyad’s book, the duo finds a way to make us feel as though we’re floating alongside Diana while navigating through her memories. She’s fighting the repetition, the cold currents, the weather, and her memories of childhood trauma. Nyad first endures the breakup of her family as she’s torn away from her beloved, nurturing Greek papa, then must deal with horrific sexual abuse from a surrogate father figure, her high school swimming coach. We piece this together via the flashes in Diana’s brain as she tries to block out weird images as the illusions creep in. Happily, the directing duo doesn’t allow the film to get bogged down in the plans and special devices and gizmos (aplenty), though some of them seemed lifted from a spy caper or a science fiction story (Diana wears an odd full face-hugging mask that makes her a resembles a blank-featured alien, much like Odo on “Star Trek: Deep Space Nine”). As with Bening’s last nonfiction role of screen vamp Gloria Grahame, the archival footage of the real person isn’t jarring in the least. The cast and the filmmakers realistically convey all the hardships and triumphs of these two remarkable women as they make a place in the history books (and websites) for the astounding athlete named NYAD.

3 out of 4

NYAD is now playing in select theaters

CHICO AND RITA – The Review

The following is taken from the film’s review when it was featured as part of the 2011 Stella Artois St. Louis International Film Festival this past November.

CHICO AND RITA is a dazzling, musical feature-length animated film that uses many modern techniques while harkening back to a time, not too long ago, when American studios flirted with the idea of animation geared to more adult stories. Now this is not to say that the great Pixar films don’t have adult themes but their  finished stories are “kid-friendly”. Forty years ago Ralph Bakshi was heading the charge for movie cartoons to compete for mature audiences. As Fritz the Cat said in the ads, ” I’m X-rated and animated! “. Soon Bakshi’s  toned down th more extreme elements in his features ( ending his run with WIZARDS, AMERICAN POP, and his take on Tolkein ) while other studios explored the territory with WATERSHIP DOWN and HEAVY METAL. American audiences never embraced these as they did in Asia and Europe. With C&R the artists are tackling an old fashioned show biz rags to riches love story ( having just seen the new BluRay release I was reminded of NEW YORK,NEW YORK ) and giving it some animated energy to go with that bouncy Latin beat.

The film begins in modern day Havana as Chico, an old shoe shine man, returns to his simple apartment. He tunes in his battered radio to a classic music station and listens to one of his old melodies. His mind flashes back to 1948. Then he was a promising young jazz pianist who, along with his bandmate Ramon, are giving two American “chicas ‘ a whirlwind tour of Cuban hot spots. When they enter a small  nightclub, Chico is stunned by the talent and beauty of a young singer named Rita. Over the next few years the two form a professional and personal partnership. They make great music, fight, break-up, reunite, and pursue their dreams. Eventually they separate and Chico travels to New York, Las Vegas, and Hollywood to be with his dream girl as her star quickly rises.

The story is told primarily through the medium of hand-drawn 2-D animation ( as opposed to the CGI molded stars like Shrek ). The human characters are simply designed with a minimum of details and linework. Like a live-action film the camera does zoom in slowly on them for dramatic effect. Now, this is not to say that computers were not used here, The intricate background drawings are separated into levels and given a rounded quality as are the gorgeous vintage autos. This is very effective as the principals race through those sixty year old neon streets. Caricature is also used to establish the settings. We get to hear and see several musical greats from Woody Herman to Charlie Parker to Nat King Cole ( is that Desi Arnaz singing at a funeral? ). During a fantasy dream sequence  Rita’s  dancing with Astaire and romanced by Bogart. As I stated earlier this is really an adult story. There’s some rough language, drug use, smoking, full nudity, and a mob-style shoot out. We even get a bit of history with the Cuban revolution and segregation ( the two leads are dark-skinned Cubans ). This film is a treat for the eyes and ears that doesn’t forget the heart. It’s no wonder that this was one of the five nominees for Best Animated Feature Film at the 20212 Oscars.

 Rating: 4.5 Out of 5 Stars

CHICO AND RITA plays exclusively in the St. Louis area at Landmark’s Tivoli Theatre

Review: ‘Che’

Travis:

‘Che’ is the newest film from the indie-minded director Steven Soderbergh and is quite the undertaking. Sure, it was likely a rough movie to make, but I’m actually referring to the viewing of the movie. The movie is technically two films, told as two parts. Sort of like Tarantino’s ‘Kill Bill’ that had two volumes. Although, ‘Che’ isn’t that cool. Of course, being the movie geek I am, I watched both parts back to back for a combined running time of 263 minutes. Ouch!

‘Che: Part 1’ (131 minutes) is actually an excellent film. Part 1 begins in Che’s life right around the time when he meets Fidel Castro, as he’s considering a plot of lead a revolution of Cuba. Che decides to join Castro and the entire Part 1 is about the revolution led by Castro and Che. While none of the performances truly stand out as extraordinary Oscar-worthy achievements, Benicio del Toro does do an excellent job portraying the complex character and ideology of Che. He manages to remove himself from the character enough that we aren’t completely saturated with viewing mentality of “hey, I’m watching Benecio play Che.” Demian Bichir plays Fidel Castro, a decent performance, but the most amazing part is how perfectly they nailed the look, which does wonders to help his performance and the film.

The story is developed in a semi-linear format, splicing grainy black-and-white interviews and clips of Che speaking before the U.N. amidst the historical telling of how the revolution took place. Stylistically, ‘Che’ is distinctly but subtly the work of Soderbergh. The cinematography also has a similar understated but magnificent beauty and charm to it, turning some otherwise unpleasant barren landscapes and impoverished peasant villages into amazing National Geographic-like portraits of a land and a people with endless amounts of texture and depth. Not surprising, as Soderbergh is an accomplished cinematographer.

‘Che: Part 2’ (132 minutes) is, unfortunately, not a deserving continuation of the story. Part 2 delves into the later life of Che as he has left his political position of power in Cuba and seemingly disappeared. Early in the film, we see Castro reading a letter from Che publicly on Cuban TV which explains Che’s disappearance. Che has decided his usefulness in Cuba has waned and feels he needs to move on and promote his ideology to other peoples in need, leading him to Bolivia after having worked with other revolutions in Africa and South America. In Bolivia, he attempts to recruit fighters from the peasant villages and stage a revolution. Che never fully receives the support he hopes for from the mining workers who opt for general strikes instead. Che and his followers struggle throughout the entire film, never truly making any progress and eventually meet their fate at the hands of counter-insurgency mercenaries backed by the CIA. Part 2 is painfully slow and dull, repetitive in it’s attempt to portray this portion of Che’s life as his untimely downfall. The stylistic elements that added so much to Part 1 are absent and the film at times feels a bit like an episode of reality TV, with the characters quarrelling and bickering over everything.

Both parts of ‘Che’ have their own distinct feel to them, but I hope that the film is released in theaters as two parts, rather than as one continuous film of epic length. While I’m not entirely opposed to such long films, the need is always present the the length is justified. In the case of ‘Che’ it is not. The simplest way for me to express this is to say that Part 2 is such an immense let down and truly wastes so much time to essentially tell us that Che pushed his luck too far, that Soderbergh could have added a couple of liver paragraphs at the end of Part 1 before the credits, giving the audience a wrap-up of Che’s life after the revolution. As a result of seeing both parts back-to-back, Part 2 actually pulls away from the impact and power of Part 1. This same effect can be seen with Clint Eastwood’s WWII epic in two parts, whereas ‘Flags of Our Fathers’ was a slow-paced and politically pushy flop, but ‘Letters from Iwo Jima’ was a brilliantly told story with some incredible cinematography. The two films were not equal and actually resulted in a lesser experience when viewed together. This is exactly what occurs when viewing both parts of ‘Che’ together.

[Overall: Part 1 triumphs getting 4 stars out of 5, but Part 2 gets executed with 2.5 stars out of 5]

Jeremy:

Steven Soderbergh’s four-hour, 18-minute opus about Ernesto “Che† Guevara is not like any biopic put to film. In fact, it’s not really a biopic at all. Che, played by the ever-compelling Benicio Del Toro, is the focal point of the film, but his life outside the two main revolutions that form his legacy is not really covered. Instead, the four-plus hours, split into two films, ‘The Argentine’ and ‘Guerilla’, each running just over two hours, shows each of these revolutions, first Cuba and then Bolivia, in great detail.

Based on Guevara’s memoirs, ‘Che’ became a passion project for Soderbergh and Del Toro. Years were spent researching the subject and getting every detail down perfectly. The films show this level of detail in abundance. Soderbergh has this sense of including a profusion of detail within his films with ease. In ‘The Argentine’, he transports you into the humidity-soaked hills of Cuba. Everything about it, from the lush greenery to ambient sounds, adds to the feeling of being there.

But this level of detail is not what makes ‘The Argentine’ such an astounding film. Castro’s revolution, the 26th of July Movement, and Che’s involvement in it all plays out without much plodding. There is never a moment in this first film where you feel the weight of the running time bearing down. This is due to the structure of the film. The revolution itself is broken up by flash-forwards to Che’s address to the United Nations in 1964. Whenever you get the sense that the film is beginning to trudge along, Soderbergh whisks you away into grainy black and white images allowing you a moment to breath.

The war scenes found in the latter half of ‘The Argentine’ are breathtaking. The attack on Santa Clara, which makes up the climax of ‘The Argentine’, is a stunningly shot battle sequence that includes possibly the single best shot of the year. It’s a tracking shot following a group of soldiers as they weave their way through building, and it culminates with the derailing of a train in the background. It is amazing to think about the level of preparedness the crew had to be in in order to achieve it.

There is so much more to ‘The Argentine’ than beautifully shot battle sequences. Throughout the film, we get a feel for who Che really was. He was a revolutionary, a genius when it came to military tactics, and a man who truly cared for his common man. ‘The Argentine’ is an incredible film, a magnificent depiction of Che and the Cuban revolution.

Unfortunately, ‘The Argentine’ is followed immediately by ‘Guerilla’. With ‘The Argentine’, the running time never feels superfluous or unjustified. At just over two hours, it feels quite rapidly paced, in fact. However, ‘Guerilla’ is another story entirely. This depiction of Che’s attempted revolution in Bolivia is everything ‘The Argentine’ is not when it comes to a film of this epic length.

For two hours, we follow Che slogging his way through the mountains of South America. Very little else happens in ‘Guerilla’. It is a tedious two hours of film that is only present because of the obsessive nature of the filmmaker involved. There are no cutaways to other points in Che’s life that break up the monotony. It is a direct, straightforward telling of the Bolivian revolution. This type of undeviating filmmaking is generally appreciated, and it, along with the detail, is something Soderbergh is known for. Regrettably, ‘Guerilla’ does not tell the kind of story that creates its own interest.

As I was sitting through ‘Guerilla’, I couldn’t help but think that it would have worked best to have the events that take place in that film simply told to us in an ending narration at the end of ‘The Argentine’. The events that Che went through in South America have been somewhat lost to history, and they might be events that more people should know about. However, a different structure and, honestly, more passion would have benefited ‘Guerilla’ greatly. And, in the end, that may be ‘Che’s biggest flaw. It is a passion project. We have been told that it is a passion project, but the film simply does not feel like it was made with much feeling put behind it. Even ‘The Argentine’ amazingly put together as it is doesn’t seem to be driven by much heart. This lack of heart is made all the more evident in ‘Guerilla’, where not even the camera work seems inspired. We get a few scenes under a blue filter, but, other than that, it’s pretty standard point-and-shoot filmmaking.

Perhaps Del Toro and producer Laura Bickford, who got the project off the ground from the start, should have picked a more passionate filmmaker than Soderbergh. As thorough and as exceptional as his films are, they often feel callous and unmoving. Del Toro, on the other hand, puts his heart into this performance. He plays the hell out of Che Guevara. It is the kind of performance that will be observed and studied for years to come. In a year that included several amazingly subtle performances, Del Toro’s performance in ‘Che’ is among the best.

In the end, ‘Che’ is a middle-of-the-road film, a film that has an epic and magnificent first half and a deeply flawed second half. If you are able to let go of what became of Che Guevara after the Cuban revolution, I would recommend you only watch ‘The Argentine’. However, cinephiles who seek out the first film will most definitely want to sit through the second. It just would have been better if all the time and effort had had a better payoff.

[Overall: ‘The Agentine’ gets 4.5 stars out of 5, ‘Guerilla’ gets 2 stars out of 5]