Aneesh Chaganty

Movie #182 Even the Rain

In Uncategorized on April 12, 2011 at 4:33 AM

Movie #182 Even the Rain

(2010, Spain, d. Iciar Bollain)

One of my film teachers suggested to my class that I take a trip to the Egyptian Theater in Hollywood and watch this “fucking masterpiece”. Well, I watched it and I have to admit: it was far from a masterpiece. In fact, I’m pretty positive that had no one told me anything about it, I would have walked out thinking it was OK. It wasn’t a bad film. There were a lot of good things about it, however they were things I’ve seen before. First off, the “meta-film” has had its share of publicity this year with Black Swan, and there can only be one. Making a movie about something that has lot of relevance to current events in the film is an interesting idea but I don’t think it was done exceptionally well here. The first problem with it is that it relies far too heavily upon expositional dialogue to explain the events of the movie they are making (about Columbus’ expedition). After awhile, I began to tune out of those conversations and consequently, missed a lot of the connections between life and the movie. The film is set in 2000 during the Cochabamba Bolivian Water Crisis. Here, a director (played exceptionally well by Gael Garcia Bernal) and his crew are making an historical epic. They encounter problems with their extras (one in particular) as well as with the production of the film as riots begin to erupt around the city. However, upon thinking about it a little, one realizes how unnecessary the entire structure of the film is. In Black Swan, the viewers were watching events that directly correlated to a fictional play the characters were putting on. Here, the viewers are watching events that are directly correlated to a true story the filmmakers are making. In essence, it is a story about how history repeats itself. And to me, there are far better ways of telling that story without relying on an unnecessary film crew. Though the cinematography here is quite effective (especially near the beginning), there is nothing in this film that sticks out to me as award-worthy – which it had its fair share of attention with.Finally, opening with a dedication to Howard Zinn, it’s hard to characterize this movie as “art” when it makes itself known about how politicized it is.


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