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Movie Reviews and Ratings

Alejandro Arbona

By

2007/04/30 at 12:00am

El Cantante

04.30.2007 | By |

Rated: R for drug use, pervasive language and some sexuality
Release Date: 2007-08-03
Starring: Leon Ichaso
Director(s):
Distributor:
Film Genre:
Country: USA
Official Website: http://www.elcantante.net/index_beta.html

Go to our film page

El Cantante

La película titulada “El Cantante”, sobre la vida del cantante y pionero de la salsa Héctor Lavoe y protagonizada por Marc Anthony, abre con una toma de la cara de Jennifer Lopez, quien hace de su esposa, Puchi.

Inmediatamente se nota el problema con esta película. Y sinceramente me da muchísima pena reportar que “El Cantante” es un desastre.

Me parece a mí que hace solamente cinco años o hasta menos, una película como ésta no podía haber existido. Vamos, ¿un proyecto prestigioso de Hollywood, sobre la vida de un salsero puertorriqueño mayormente desconocido para los americanos, protagonizada por un artista puertorriqueño mayormente desconocido a los americanos, con un elenco entero de actores hispanos, con alrededor de un 25% del diálogo, más la letra de las canciones de Lavoe, en español…y hasta con el título en español? ¿Y esto va a salir en los mega-cines y los centros comerciales de todo los Estados Unidos? ¡Esto es una maravilla!

Y si bien los hispanos en general hemos esperado este estreno con gran anticipación, más aún los públicos de mi Puerto Rico, donde cineastas boricuas llevan años dedicándose a crear y cultivar un nuevo cine puertorriqueño. El estreno de cada proyecto nuevo creado por puertorriqueños viene acompañado de gran publicidad y atención en la isla; incluso la gente se anima cuando un actor puertorriqueño encarna un papel, no importa cuán secundario, en una película grande de Hollywood, como ha sido el caso recientemente con actores como Amaury Nolasco en “Transformers” y Armando Riesco en “World Trade Center.” Se le extiende siempre la invitación a Hollywood para rodar sus cámaras en el trasfondo de la isla, y los públicos puertorriqueños se lanzan a ver cualquier película americana filmada localmente, simplemente por ver a Puerto Rico en la pantalla gigante. Añoramos que el cine sea plenamente una parte del patrimonio cultural de nuestro país.

Obviamente la comunidad hispana en los Estados Unidos se ha dado a respetar, y Hollywood se ha tomado un riesgo en el malabarismo de crear una película para públicos americanos que no deje de parecer auténtica para los hispanos; pero “El Cantante” decepcionará a todo el mundo por igual.

Los problemas de los que sufre esta película son muchos y variados, pero en primer plano está el hecho sencillo de que esta película, “El Cantante,” resulta no ser sobre el cantante; la historia gira en todo momento alrededor del personaje de Puchi, la esposa realizada por Jennifer Lopez, quien también sirvió de productora ejecutiva. Puchi narra los sucesos de la vida de Lavoe en una entrevista, proveyéndonos al público el punto de entrada al cuento. Pero la táctica narrativa, filmada en blanco y negro, fracasa porque se torna más importante que las escenas de la vida de Lavoe. En vez de esta técnica iluminar y enriquecer las escenas dramáticas, como debería ser el efecto, las escenas dramáticas sólo sirven como breves episodios demostrando lo que Puchi nos cuenta. Demasiadas veces durante el curso del filme, un momento poderoso y cargado se interrumpe para regresar al estudio donde Puchi nos cuenta lo que sucedió después. Muchas otras veces, la trama ni siquiera alcanza el momento poderoso que debería; escenas terminan repentinamente, fallando en explorar los conflictos que establecen. Por ejemplo, una escena comienza con Puchi entrando al apartamento lujoso donde vive con Lavoe, quien está sentado en el sofá sin hablar. Cuando ella lo saluda y le cuenta que le ha traído cena de casa de su hermana, él se pone de pie y la acusa de estar con otro hombre. Y termina la escena. Fíjense que no comienza con Lavoe sólo, sospechando de Puchi y enfureciéndose, como uno se imagina que debería ser el caso en una película sobre Lavoe. Y claro, apenas se ha establecido de qué trata la escena – Lavoe se enfrenta a Puchi por sospecho de adulterio – cuando de repente acaba sin contar más nada. Eso no es una escena, es meramente el comienzo de una escena; carece de medio y fin. ¿Tiene razón Lavoe en su sospecha, o es paranoia? ¿Qué pasa después? En otra escena, la pareja pelea a gritos de nuevo por el supuesto adulterio, y Puchi le promete a Lavoe que se va a acostar con varios hombres para hacerle valer las sospechas. ¡Fuerte! De repente cortamos a Lavoe y Puchi juntos y alegres en Puerto Rico. ¿Pero qué sucedió con el adulterio? ¿Y cuánto tiempo ha pasado, meses? ¿Semanas? ¿O es el día siguiente? No sabemos.

La película salta y se tropieza de este modo continuamente, tratando a la mayoría de las escenas como si fueran meramente los puntos clave para resumir una historia, y no la totalidad de la historia como tal – o sea, un corto o un adelanto, como uno vería en el cine antes de otra película, pero durando dos horas. La ascendencia musical de Lavoe sucede en mas que tres escenas: lo vemos cantando baladas en el Viejo San Juan con su papá, que le advierte que no se mude a Nueva York; luego está caminando en Nueva York, donde conoce a quien será su mejor amigo y ve por primera vez a su futura esposa Puchi; y finalmente acabamos con él cantando en un club en el Bronx, donde se le acercan Willie Colón y Fania Records a ofrecerle un contrato, con solo la indicación a través de un subtítulo que han transcurrido “varios meses.” No llegamos a ver la primera vez que Lavoe se para frente a un micrófono; no vemos cómo logra entrar al mundo de la música profesional. En ningún momento se toca en su proceso creativo, ni se explora la pasión que Lavoe debió haber sentido por la música y la compulsión artística por crear; peor, esta película ni siquiera indica si él escribía la letra de sus propias canciones. El encuentro entre Lavoe y Colón (John Ortiz, un excelente actor hispano que se queda sin mucho que hacer aquí) tiene todo el cliché de ser un gran momento para el futuro de la música porque estos dos crearán algo monumental juntos…pero falta la sustancia. En ningún momento vemos los retos, las dificultades y la gloria de crear arte innovadora.

Varias figuras del mundo de la salsa y de la familia de Lavoe ya han criticado a “El Cantante” por enfocarse demasiado en la drogadicción; dada la ausencia total de cualquier otro tema en la vida del personaje en esta película, estoy de acuerdo. Es un factor muy importante en el que hay que tocar, es cierto, pero no es lo único de que se trató su vida y su carrera. Honestamente, sólo llegamos a ver a Lavoe usando drogas, en su relación con Puchi y cantando (que no es lo mismo que decir creando música).

Ahora, hace falta aclarar que Marc Anthony hace un trabajo excelente; actúa muy bien, y por supuesto, las escenas musicales son excepcionales (aunque el intento de crear subtítulos animados para las canciones en español cae pesado y no funciona). Ver a un artista tan talentoso como Marc Anthony haciendo de un sonero legendario como Héctor Lavoe es un encanto; ¿quién más en el mundo del cine y la música es capaz de hacer este papel, actuando y cantando tan bien? Y viceversa, ¿qué otro papel basado en una figura real sería más apto para Marc Anthony encarnar? Es un ejemplo insólito de un actor coincidiendo con un rol tan precisamente que tal vez no ha de repetirse jamás en el futuro del cine puertorriqueño – por lo menos hasta que se filme la vida de Vico-C protagonizada por Residente Calle 13. Sin embargo, Marc Anthony no aparece mucho en “El Cantante”…y de las escenas en que sí aparece, no hay ni una sola que no esté enfocada en Jennifer Lopez, que pretende robarse la película entera. Incluso en las escenas en que ella no aparece, siempre acaba figurando su personaje, y a menudo en momentos intensamente dramáticos que le deberían de haber pertenecido a Marc Anthony. Cuando a Lavoe le informan que tiene SIDA, su primera pregunta al doctor es por la salud de Puchi. Cuando Lavoe intenta suicidarse, cortamos inmediatamente a Puchi narrando las consecuencias de su caída desde el balcón de un hotel, convirtiendo un suceso trágico y horrible en un episodio chistoso al describir como rebotó. Y cuando Lavoe se entera que su hijo se ha muerto, la noticia le llega a través de Puchi, que se trastorna con gritos y llantos melodramáticos, subiendo a la tarima de un club y quitándole el micrófono y el foco; lo simbólico hecho explícito.

Pero el personaje de Puchi que forma el centro de la película ni siquiera es un personaje agradable. Puchi es egoísta, facilita la drogadicción de Lavoe y le miente a sus entrevistadores. Cuando Lavoe sospecha que ella tiene amantes, no se indica si es verdad o no; uno puede suponer que no, porque al personaje lo pintan como una fuente de apoyo y estabilidad para su marido. Sin embargo, no siempre le puede ofrecer esa estabilidad, y ya la hemos visto decirle al entrevistador que nunca usó drogas mientras estaba con Lavoe, lo cual sabemos que no es cierto porque la vemos usando drogas. Pero tampoco el tema es uno totalmente trágico, en el cual Puchi y el público aprecian que ella le hizo daño mientras pretendía ayudarlo; simplemente, la película no sabe en qué pie está parada, y si ese es el caso y Puchi es una influencia dañina en la vida de Lavoe, entonces parece una arrogante que vivió la vida entera sin percatarse.

Las películas biográficas no necesariamente deben ser totalmente fieles a la realidad; a menudo en el género se combinan personajes, se condensan eventos para facilitar la narración y enaltecer el impacto dramático, etc. Lo importante en una película biográfica exitosa es que se capture la esencia de la figura histórica a quien representa: la verdad emocional de su carácter; los retos que sobrepuso en el curso de su vida y su carrera; la inspiración que lo conllevó a crear su arte, a obrar sus descubrimientos científicos, a ser un gran líder político o militar. “El Cantante” falla en ambos criterios. No solamente no existe un relato fiel a la vida del Lavoe verdadero, quien estuvo casado dos veces, tuvo más de un hijo y llegó a dejar la heroína por un tiempo antes de volver a caer en ella; tampoco se pinta el retrato de un Héctor Lavoe destilado, concentrado y dramatizado. En “El Cantante” sólo ha de hallarse el cuentecito inconsecuente de una mujer sumamente desagradable y su marido, un salsero cualquiera que se destruyó la vida.

La falla de esta película es trágica; no honra el legado artístico de Héctor Lavoe. Y no representa lo que nosotros los hispanos somos capaces de crear. Muchos hispanos citan las palabras del cubano José Martí para defender lo nuestro: “El vino, de plátano. Y si sale agrio, ¡es nuestro vino!” Pero ese no tiene que ser el caso, y no hay que contentarse con la mediocridad. Héctor Lavoe demostró lo bien que se puede hacer; Marc Anthony lo demuestra. Nuestro vino está BUENÍSIMO.

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2007/04/30 at 12:00am

The Diving Bell and the Butterfly

04.30.2007 | By |

Rated: PG 13
Release Date: 2007-11-30
Starring: Ronald Harwood
Director(s):
Distributor:
Film Genre:
Country: USA
Official Website: http://www.lescaphandre-lefilm.com/

Go to our film page

The Diving Bell and the Butterfly

Quizás una de las mejores películas que usted pueda ver este año es ‘The Diving Bell and the Butterfly’ del pintor y director neoyorquino Julian Schnabel

El filme rodado en Francia y hablado completamente en francés, se basa en la fascinante historia real del editor de la revista ‘Elle’, Jean-Dominique Baubi (Mathieu Amalric), quien sufrió un ataque cerebral a los 43 años de edad. Después que despertara de un coma de tres semanas, los médicos le comentan que él ha sufrido un parálisis total de su cuerpo excepto su ojo izquierdo. Su gran deseo de vivir lo llevó a escribir un libro – nombre de este filme – plasmando en letra su vida y experiencias en el hospital. 

La cinta es una historia deprimente. Afortunadamente Schnabel sabe como mantenerlo a uno con los ánimos en alto usando la mejor técnica de cámara que he visto desde ‘Le Fabuleux destin d’Amélie Poulain’ (Amelie, 2001) del director Jean-Pierre Jeunet. El ingenioso, y en ciertos momentos hasta cómico guión de Ronald Harwood (The Pianist, El Amor en los Tiempos del Cólera), también ayuda el filme a no decaerse en ningún momento. 

La actuación de Mathieu Amalric (Rois et Reine, Munich) fue excepcional al igual que la del resto del reparto. Interpretar a enfermos o paralíticos en celuloide siempre es un gran reto para cualquier actor que las academias cinematográficas usualmente recompensan con premios o nominaciones. 

Pero fuera de la historia real de Baubi, lo más impactante y cautivante del filme es la dirección de Julian Schnabel. Su uso de la cámara en verdad es pasmante. El usa el aparato como si fuese el ojo de Baubi captando excelentemente la lentitud, el desequilibrio y el renacimiento de la nueva vida de nuestro protagonista.

No confunda la cinta con un documental. Aunque es basada en una historia real, Harwood le inyecta momentos fantásticos que uno se pregunta si fueron reales. No obstante, la aflicción y pesadumbre que tuvo que haber pasado Baubi hubiera matado a cualquiera. La historia es más que una apoplejía inesperada a un hombre influyente, se trata de la fortaleza humana, el poder de la imaginación y el deseo universal de vivir. Es una emocionante, desgarradora película que lo hara llorar y apreciar la condición fisica humana.

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2007/04/29 at 12:00am

The Bourne Ultimatum

04.29.2007 | By |

Rated: PG-13 for violence and intense sequences of action.
Release Date: 2007-08-03
Starring: Tony Gilroy, Tom Stoppard, Scott Burns, Paul Attanasio
Director(s):
Distributor:
Film Genre:
Country: USA
Official Website: http://thebourneultimatum.com/

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The Bourne Ultimatum

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2007/04/14 at 12:00am

Superbad

04.14.2007 | By |

Rated: R for sexual content, strong language and alcohol use.
Release Date: 2007-08-17
Starring: Seth Rogen, Evan Goldberg
Director(s):
Distributor:
Film Genre:
Country: USA
Official Website: http://www.sonypictures.com/movies/superbad/

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Superbad

The teenagers Evan (Michael Cera) and Seth (Jonah Hill) are nerdy, uncouth and a disaster with the ladies. When the objects of their affection invite them to a party, they come up with a plan to buy alcohol illegally, get the girls drunk and lose their virginity.

An extremely immature premise, to be sure, but this is a comedy produced by Judd Apatow, the writer/director of “The 40-Year-Old Virgin” and “Knocked Up,” seemingly dumb, immature comedies that turn out to be very sweet and adult, about the discovery of wisdom and maturity. And “Superbad” is the best and the funniest of the three.

Laughing along with the humor, you don’t spot the emotional investment until it suddenly comes to collect. The events of this one night will be critical for the boys; at the tensest moment, they must decide if failing in their goal means utter disappointment, or whether it’s more important to remain friends.

Evan and Seth are surrounded by truly infantile adults, which is what they risk becoming if they don’t survive this crossroads. The stupidity they exhibit is essential to give them something to achieve in themselves; if they’re to become men, they must fundamentally grow. When the sun rises in the final scenes, only by having survived the changes of the past 24 hours will they succeed.

This is the same as affecting a pompous tone of voice and saying, “This movie is intelligent and wise, take it seriously.” But this movie is HILARIOUS. The comedy might be too over the top for some, but the effect is a masterpiece about the suffering and frustration of overcoming adolescence.

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2007/04/12 at 12:00am

Love in the time of Cholera

04.12.2007 | By |

Rated: R
Release Date: 2007-11-16
Starring: Ronald Harwood
Director(s):
Distributor:
Film Genre:
Country: Colombia, USA
Official Website: http://www.loveinthetime.com/

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Rated: PG-13 for intense sequences of sci-fi action and violence.
Release Date: 2007-12-14
Starring: Akiva Goldsmith, Mark Protosevich
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Rated: G for the whole family.
Release Date: 2007-06-29
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Country: USA
Official Website: http://disneylatino.com/FilmesDisney/Ratatouille/index-flash.html

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03.7.2007 | By |

Rated: R for violence, drugs and language.
Release Date: 2007-11-09
Starring: Joel and Ethan Coen
Director(s):
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Film Genre:
Country: USA
Official Website: http://www.nocountryforoldmen.com/

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No Country For Old Men

Confieso que últimamente el cine norteamericano me ha decepcionado y me ha dejado buscando refugio en las producciones extranjeras que han amenazado al mundo de Hollywood con su narrativa sincera y sus ideas provocativas y desafiantes. Pero les advierto: En este país siguen habiendo cuentistas de pesos pesados y no me refiero a los autores de esa gran cosecha de películas en la década de los setenta como Martin Scorsese y Francis Ford Coppola. Me refiero a la generación que le siguió. Los hermanos Coen quienes debutaron en el año 1984 con Blood Simple, vuelven a calar en nuestras mentes con personajes inefables y situaciones insólitas en su nuevo filme No Country For Old Men

La historia, una adaptación de la novela escrita por Cormac McCarthy que lleva el mismo título, comienza cuando Llewelyn Moss (Josh Brolin) descubre una camioneta rodeada por un reguero de cadáveres y un cargamento de heroína y dos millones de dólares todavía en el compartimiento trasero. Cuando decide robarse el dinero, Llewelyn da origen a una reacción en cadena de violencia catastrófica que ni siquiera las autoridades pueden detener. Mientras Llewelyn intenta fugarse del estado, lo persiguen un psicópata escalofriante llamado Anton Chigurh (Javier Bardem) y el envejecido alguacil de policía, Shérif Bell (Tommy Lee Jones).

No les llegará como sorpresa las actuaciones inolvidables de Bardem y Jones, pero lo que si es una revelación total es la entrega de Josh Brolin (American Gangster, In the Valley of Elah) quien para mi, merece ser reconocido con una nominación al Oscar. En medio de las dos leyendas Brolin no solo se destaca sino que también lleva el peso de el filme que dura más de dos horas. Eso si, a pesar de que ésta sea una película de persecución, la cinta va a su paso. No es que sea lenta, pero tampoco se la recomiendo a los espectadores afanados. Los hermanos Coen como buenos cirujanos que son, tienen fríamente calculado donde van a hacer la incisión en cada escena. El ritmo que le imponen es deliberado y adecuado para los desiertos del oeste donde se rodó la cinta.

De cualquier modo, el astro real de No Country For Old Men es el director de fotografía Roger Deakins (Kundun, Fargo), quien ha sido nominado cinco veces al premio Oscar pero nunca galardonado. Y ponganle la firma que por lo menos será nominado nuevamente. Su cámara viaja con fluidez y captura de una manera maravillosa las distancias entre los personajes literal y metafóricamente. Es como si el lente de repente es el que es perseguido. 

La verdad es que mi única queja de la cinta es que los antecedentes de la historia son un poco ambiguos y al final me esperaba un epílogo que rellenara los pocos huecos del guión. No obstante, los hermanos Coen han perfeccionado el arte de relatar películas de este género. Han encontrado la fórmula perfecta para mantener un nivel de suspenso muy alto y a la misma vez rociar la historia con un poco de humor. Y yo, nunca me canso de la dosis. 

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