Réalisation:
Andy GarciaPhotographie:
Emmanuel KadoshActeurs·trices:
Andy Garcia, Inés Sastre, Bill Murray, Tomas Milian, Richard Bradford, Enrique Murciano, Nestor Carbonell, Hemky Madera, Steven Bauer (plus)VOD (1)
Résumés(1)
La Havane, 1958. Fico Fellove est l'heureux propriétaire du plus élégant night-club de la ville, El Tropico. Mais son existence et celle de toute sa famille vont être malmenées par les événements politiques. La révolution communiste menée par Fidel Castro et Ernesto "Che" Guevara est en marche pour faire tomber le dictateur Batista. Dans la tourmente, Fico se bat pour l'amour d'une femme et pour garder l'unité de son clan. Il ne veut pas s'impliquer dans les bouleversement que traverse son pays, mais le destin ne vas pas lui laisser le choix... (Metropolitan FilmExport)
(plus)Critiques (5)
Un beau traitement d’une matière délicate et un regard sur les événements révolutionnaires à Cuba en 1958 du point de vue d’une famille riche. Le film bénéficie d’un jeu d’acteurs de qualité, d’une magnifique photographie et d’une musique omniprésente. Je suis juste irrité par le stratagème classique de la production : on fait participer Dustin Hoffman pour nous attirer, sauf que celui-ci n’apparaît finalement que cinq minutes à l’écran pour prononcer dix phrases. Le public masculin pourra au moins se consoler par le généreux espace qui a été accordé à Inés Sastre.
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Legends of The Fall with a smaller budget, set some 50 years later, at the time of the coup in Cuba, a time where a lot of people had lost a lot of ideals about a free, independent and democratic state. One of them is the character of Andy Garcia, who, besides the main role, also did the music and directing. You can feel that this is an extremely personal story for him from the first shots, with beautiful Havana, lots of typical music, clubs, beaches, etc. There's a lot there, plus a nice grainy image reminiscent of retro gems of the last century. Of course, Andy is primarily an actor, so he doesn't manage to grasp some of the dramatic passages with complete precision, but that doesn't change the fact that this family saga is definitely worth watching. It is historically quite plausible, and even a dullard will notice the enthusiasm with which Garcia realizes his cinematic dream.
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Andy Garcia's life project, through which he expressed his love for Cuba, where he comes from, and expressed his relationship to the Cuban revolution, the past and present of Cuba, and a bit of Cuban culture. The dramatic storyline of one family and the conflict between three sons divided by political opinions work very well, especially the unfulfilled love relationship of the main character when politics once again separates the lovers. I was a bit disappointed by the relatively unremarkable use of the environment of the best Havana cabaret, as I expected the film, where the main character is a cabaret singer and artist, to be full of musical numbers, and distinctive dance and music creations. I was expecting a new Cabaret. Surprisingly, it is quite lacking, as the Fico Fellova club only serves as a background for displaying fateful political events. Andy Garcia in the lead role acts reliably, but I still get the feeling that compared to his early films, he has lost a bit of his spark. Overall impression: 80%. The political dimension of the film is interesting, somewhat limiting the result. Andy Garcia proves that as an immigrant, he simply does not understand certain events and characters of Cuban history because he cannot even understand them. He does not understand the essence of the Cuban revolution, its roots, and the motivation of its participants. His characters are members of the Cuban social elite, and dissatisfaction with the Batista regime is mainly perceived as dissatisfaction with the lack of political rights during the dictatorship period. The Cuban revolution was motivated by social inequality and anti-Americanism typical for Latin America as a whole. The interference of the US government in the internal politics of the continent's countries was simply highly unpopular, and Garcia, as a successful American citizen and well-positioned member of the upper-middle class, does not admit it. For example, his portrayal of Che Guevara as a cynical murderer is one-dimensional, and it is essentially a negative caricature that greatly flattens this character. Che Guevara was not only a Jacobin revolutionary who could put his defeated enemies against the wall without blinking an eye but also a brilliant intellectual, and unlike Castro, who was a power manipulator and practical politician, he was a person who truly believed in the ideals of the revolution.
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You can think pretty much anything about all regimes and governments, and still Andy Garcia will lock you in his lost city and forgotten world, either as a director or as an actor. The first is thanks to the perfect atmosphere that captivates the viewer from the first shot and thanks to many ideas (the colored flag on a black and white background or a flagpole in the distance and a grenade explosion in the foreground are true delicacies), the second is due to his character, who possesses so much justice and humanity that you wish Fico could change fate and history and achieve his happiness. Sometimes, the only possible next move is the one that causes you to lose everything.
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Is it a romantic film? Is it a historical drama? Is it a depiction of revolution? Or perhaps a mafia film? It's all of that and at the same time nothing. Andy Garcia decided to make a film that would be very patriotic, but that definitely wouldn't praise Fidel and his regime. We follow Cuba and mainly one family during the time when Batista's presidency is ending and the revolutionaries, led by Castro, are slowly coming to power. We don't follow the lives of significant personalities, but rather one family that had a name but didn't really interfere in politics. They couldn't do anything when the regime changed; they just realized how fragile family bonds were. Phew, that sentence is like something from an endless series. Andy Garcia is one of the sons of Don Fellove. Together with his brothers, they try to live as best they can. Fico (Garcia) has a luxurious club where people dance, Luis (Nestor Carbonell) is convinced that he has to do something about the Batista regime, and Ricardo (Enrique Murciano), the youngest son, is convinced that only by connecting with Castro will he have a good future. Neither of them is granted their wish. Luis embarks on the path of revolution and is supposed to be an active member of a commando that is supposed to overthrow Batista. He fails and Luis dies. The regime still falls, and dictator Castro takes the place of the president. The regime really does change. Even playing the saxophone is not allowed because it's an imperialist instrument. I'm sure this is the only thing that will stick in my mind from the whole movie. Ricardo becomes a soldier of the revolution and goes to tell his own uncle that the state is taking his land and his property for the sake of common ownership. His uncle dies from heart failure, and Ricardo realizes too late what he has done. He cannot bear the guilt. Fico doesn't have it easy either. Besides not being able to play the saxophone in the club, he has to take care of the beloved woman of the deceased Luis. He takes care of her by falling in love with her. Even their love is not granted. As I tell the story, the film really sounds like a better version of an endless soap opera. The stories here don't all close, some are open, and we can't expect a happy ending. The historical events are presented well, there are also strong moments, but Garcia puts himself too much in the lead role, even though one feels that he would be more suited to a role in the background. But for him, Bill Murray took over perfectly, showing once again - in a very small space - how great of an actor he is and how he can capture attention. It's an interesting film, but to understand the time, I would first read "The Motorcycle Diaries" and then maybe something written by Castro from prison. The idea of the time will be better, presented from both sides, and then you can compare. For example, Guevara is portrayed here as a jerk and a fool, but it's just a caricature of the real, albeit very controversial, personality. More: http://www.filmovy-denik.cz/2012/11/prada-tlumocnice-sveraci-kazajka.html
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