Buena Vista Social Club: Adios

The music of Cuba is timeless.

(2017) Documentary (Broad Green) Ibrahim Ferrer, Omara Portuondo, Manuel “Guajiro” Mirabal, Ry Cooder, Nick Gold, Compay Segundo, Eliades Ochoa, Juan de Marcos González, Barbarito Torres, Gilberto “Papi” Oviedo. Directed by Lucy Walker

 

In 1997, American musician Ry Cooder discovered the seductive rhythms and melodies of Cuban music. Gathering together a group of aging Cuban musicians who continued to make vibrant and amazing music from their native land, he put together an album with literally an all-star group of Cuban musicians in what was a love letter to the island. German filmmaker Wim Wenders made a documentary about the tour that surrounded the album. The documentary he made, Buena Vista Social Club which was also the name of the album, were worldwide phenomena and made international stars out of the musicians that were portrayed, garnering major awards including Oscars and Grammys.

That was then, this is now. 20 years has passed since the first album and many of the musicians from the first film, who were already elderly when the album was recorded, have since passed on. This documentary acts both as prequel and sequel, giving us a little more insight to the development of son Cubano music and the people who made it stars, particularly Ferrer and Portuondo, the royal couple of Cuban music. The first third of the film concentrates on that, showing the two as they appear in variety show footage from the 50s and in Cuban commercials of that era, leading up through the revolution that changed the island forever and the eventual slide into obscurity – Ferrer was shining shoes two doors down from the studio where the BVSC album was recorded.

The middle third chronicles the rise of the Buena Vista Social Club and the effect of the album, tour and film on their lives and the fame it brought both to the music that in many ways defined Cuban culture and the musicians who created it. The concert footage is particularly joyful; there are outtakes from the original Wenders film included here (Wenders was one of the producers on this film although he declined to go behind the cameras for it) that remind us how the best music comes from the soul. Even if you’re not a fan of Latin music you can’t help but be seduced by the lovely melodies, insidious rhythms that almost compel you to dance and the lyrics which reflect the universal struggles and triumphs of life.

The final third is somewhat more melancholy, something of a “where are they now” segment as we follow the lives of the primary people chronicled in the first film in the years after the movie was released. Ferrer and Portuondo are the main subjects and they are engaging and delightful personalities. Ferrer passed away in 2005 and his death was mourned throughout Cuba but also in the international music community as well.

We also see the state of Cuba as being hopeful as it appears that relations with the United States are at long last going to be normalized during the Obama administration; sadly since the making of the film it appears all that will be for naught as the new President seems more inclined to leave things the way they are vis a vis Cuba. That adds to the melancholy.

I am myself of Cuban descent and although my father passed away in 1986 he loved to play the Cuban songs he loved as a young man on the piano in our home. I can still here those lovely melodies echoing in our living room as he would play. As I watched the movie in the theater, I could feel his presence and that of my grandmother who also loved the music well. Perhaps that makes me a little more inclined to overlook the faults of the film which to be quite honest isn’t nearly as good as the original documentary and doesn’t carry with it quite the same feeling of joy.

This is a somewhat bittersweet movie; there is some hope for the music as new musicians have moved in to play the same songs and perhaps writes some new ones. The music continues to thrive in Cuba and although it hasn’t had quite the success here in the States can still be found in places where Cubans congregate, particularly in Florida.

The best music comes directly from the soul as I said – and clearly the music of Buena Vista Social Club: Adios comes from that place inside these musicians that pulses with life and celebration. It also comes from the place that simmers with regret and disappointment. We all know these aspects of our lives and it is somewhat comforting to know that there is a soundtrack for it. Whether or not you are of Latin descent, music like this speaks to you on a primal level. We can relate to it because we are all human. Music like this is timeless and beyond borders; it goes to what makes us who we are. If for that alone, this is a documentary that should be seen. Sure, you can see it without having seen the first but to be honest I would recommend seeing the first if you are only going to see one of the two.- but you should see both.

REASONS TO GO: The music is timeless and amazing. The personalities of the musicians is exuberant and unforgettable.
REASONS TO STAY: It doesn’t quite hold up to the original documentary.
FAMILY VALUES: There is some material that’s a bit suggestive and some adult themes.
TRIVIAL PURSUIT: The original movie and album were named for a Havana dance hall patronized by poor Afro-Cubans. The dance hall no longer exists.
BEYOND THE THEATERS: Fandango Now
CRITICAL MASS: As of 8/9/17: Rotten Tomatoes: 62% positive reviews. Metacritic: 69/100.
COMPARISON SHOPPING: Hecho en Mexico
FINAL RATING: 7.5/10
NEXT: LA 92

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We’re the Millers

The cast gets their first look at the finished film.

(2013) Comedy (New Line) Jennifer Aniston, Jason Sudeikis, Emma Roberts, Nick Offerman, Kathryn Hahn, Will Poulter, Ed Helms, Molly Quinn, Tomer Sisley, Matthew Willig, Luis Guzman, Thomas Lennon, Mark L. Young, Ken Marino, Laura-Leigh, Crystal Nichol, Dickson Obahor, Brett Gentile, Kelly Lintz, J. Lynn Talley, Deborah Chavez. Directed by Rawson Marshall Thurber

What could be more middle America than a road trip vacation with the whole fam damily in the ol’ RV? Nobody is going to take a second look at one of those, not even George Zimmerman even if the entire family is wearing hoodies and munching on Skittles.

David Clark (Sudeikis) is a low level drug dealer; he has a certain moral compass (he doesn’t ever deal to kids, even 18-year-olds) and is part of the neighborhood fabric, making deliveries like the milk man used to. He lives in an apartment building where his neighbors include the dorky latchkey kid Kenny (Poulter) and the grouchy stripper Rose (Aniston).

When David gets robbed of all his cash, he knows he’s in deep to his supplier, Brad (Helms). However, Brad gives David an assignment; go to Mexico, pick up “a smidge and a half” of weed, and bring it back to Denver and not only will the debt be forgiven but he’ll get the standard courier rate of $100K. David isn’t exactly leaping at the opportunity to be a drug smuggler with potential federal ramifications but he doesn’t have much of a choice.

He’s a bit worried on how exactly to go about it when he hits the idea of the family RV road trip. Nobody at the border will give him a second look, particularly if he clean up and shaves. However, David is single so he’ll have to rent a family. Kenny is all in, and David convinces a street urchin named Casey (Roberts) to be the daughter. That leaves mom.

David approaches Rose but she – having an ingrained distrust of drug dealers to begin with – isn’t having it. However her finances are, shall we say, in crisis so reluctantly she agrees to get on board. And of course, we know this isn’t going to be a trip one is going to show home movies of afterwards.

As with most R-rated comedies these days there’s a fair amount of raunchiness although surprisingly less than you might expect. There’s plenty of drug humor although not so much of the Cheech and Chong variety; this is a stoner film where nobody gets stoned. Then again, it really isn’t about the marijuana.

Aniston plays very much against type; ever the girl next door, she does one scene where she delivers a pretty hot strip tease (down to her undies – sorry pervs) and she’s not so much brassy as she is grumpy, but she is definitely the star attraction here. Sudeikis meshes well with her, maybe as well as any actor since David Schwimmer, and plays against his usual nice guy type as well.

Hahn and Offerman are hysterical as a straight-laced couple also on an RV adventure who aren’t as straight-laced as they might lead you to believe; Offerman’s career in particular is really taking off and I suspect it won’t be long before he’s headlining some big flicks of his own.

There are some really wicked bits here, including a girl-on-girl action scene, one in which Kenny is taught how to properly kiss a girl, and an adverse reaction to a spider bite. A lot of the humor has to do with taboo sex and those whose values are a bit straight-laced might be offended – of course not many of those will be lining up to see a comedy about drug smuggling I would think

I didn’t have particularly high hopes for the film – the comedies this summer have been a pretty dismal lot in general and I suspected that the funniest bits of the movie might well be in the trailer but that doesn’t turn out to be the case (although the trailer hints at them). While the ending is a bit predictable, the cast – particularly the core family cast – get on so well that you feel a genuine affection for the lot of them by the film’s end and do stay for the credit roll outtakes; one of the funniest moments in a movie I’ve seen all summer can be found there.

We’re the Millers is one of those summer movies that the expectations are pretty low for and manages to exceed them. In a summer where most movies haven’t met the expectations set for them, mild or not, it’s a breath of fresh air. Well, maybe Detroit-smelling air. Not really fresh mountain air. You smell what I’m cooking.

REASONS TO GO: Laugh out loud funny. Nice chemistry between Sudeikis and Aniston. Offerman and Hahn nearly steal the show.

REASONS TO STAY: Those who don’t like drug humor might take offense. Pushes the taboo sex angle a bit hard.

FAMILY VALUES:  Oh, where to begin? A ton of foul language, plenty of drug humor, a ton of sexual references and one scene of brief but unforgettable nudity (as in you can’t un-see it once you’ve seen it).

TRIVIAL PURSUIT: Poulter stayed up all night listening to TLC’s ”Waterfalls” in order to learn the rap portion properly for shooting the following day.

CRITICAL MASS: As of 8/27/13: Rotten Tomatoes: 47% positive reviews. Metacritic: 44/100

COMPARISON SHOPPING: The Pineapple Express

FINAL RATING: 6.5/10

NEXT: Life, Above All