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June 2003 |
Like many of my colleagues at the Goliard I share a profound admiration for John Malkovich. Thus, it was with much anticipation that I chose Malkovich's directorial debut to correspond with my debut as the Goliard's revolving film critic. I realize that some readers might be highly suspicious of any reviews being written these days given the recent identity scandals that have rocked the Goliard to it's core but I want to assure our readers right off the bat that I would never try to fill the shoes of the legendary Movie Man and also say that, contrary to accusations by a handful of suspicious readers, I am not the Movie Man. I am and remain, the Snapper. But on to Malkovich. After devoting much of his
seemingly limitless creative energy as founder of Chicago's
Steppenwolf Theater and directing at least a dozen plays for the
successful troop, Malkovich decided to step behind the camera and
direct "The Dancer Upstairs," adapted from Nicholas Staring Javier Bardem (nominated for an Oscar for 'Before Night Falls'), Laura Morante ('The Sons Room), Oliver Cotton, Luis Miguel Cintra, and Abel Folk, "The Dancer Upstairs" is an ambitious story for anyone to adapt to the wide screen largely because of the twisted and complex nature of the plot. Keeping these factors in mind, Malkovich somehow manages to masterfully weave mystery, suspense, romance and drama into what can best be described as a "political thriller." Malkovich spends the necessary time to introduce the characters integral to the story. When we first meet Augustin Rejas (Javier Bardem), he is a guard managing a remote, rural checkpoint in an unidentified Latin American country. The film never eludes to the real identity of the country or the indigenous followers of the revolutionary leader known simply as Ezequiel. Flash forward five years and we now find Rejas in the capital. Through a series of promotions, Rejas finds himself burdened with the seemingly impossible task of tracking down Ezequiel before the military declares martial law. The only clues Rejas and his three devoted colleagues have to work with are a series of violent assassinations of prominent political figures, a handful of cryptic political slogans, and the groups signature dead dogs hanging from streetlights with sticks of dynamite shoved up the poor animals anuses. As the story unravels we are introduced to Rejas' family which consists of his wife and pre-teen daughter who's dance instructor is the tantalizingly seductive Laura Morante. All it takes is a few visits by Rejas and a romance begins to simmer throughout the remainder of the story. As the revolution picks up momentum one cannot help but feel the frustration and mix of emotions felt by Rejas as he struggles with his own sense of bitterness towards the current regime, the same regime that confiscated his fathers coffee farm years before. Rejas is not only part Indian but speaks their native language as well. At times it would seem that he is closer to joining Ezequiel than apprehending him. This sense of internal conflict and mixed allegiance is further evidence of Bardem's masterful performance as Augustin Rejas. Despite the dramatic cinematography and well selected music that helps create many of the emotionally charged scenes in this film, it is not always easy to follow. Despite the best efforts of the films talented Latino cast, the dialogue that is so integral to the plot, is occasionally lost because of the heavy accents of the characters. It is unclear how Rejas has progressed to his current position. He says on more than one occasion he used to be a lawyer but no longer practices the law. It is similarly unclear as to the goals of the revolution as well as the appeal of the mysterious Ezequiel. However, this sense of mystery will keep most viewers pondering this film long after the final credits. Rating: 3 and 1/2 Red Snappers
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Shakespeare's novel by the same name. The novel is loosely based on
the 1992 manhunt for the leader of the Maoist Revolutionary group in
Peru known as the Shining Path. 
