 |
 |
Sunday May 11, 2008
|
Reviews - Films
Reviews - Films
Once in a while, a film is made that truly speaks to the human condition in ways unexpected and profound. True art can inspire and enlighten without running the risk of being condescending or overbearing. The audience feels refreshed and leaves with a renewed sense of hope for humanity. Bella is one such work of art, and is well-deserving of the accolades it received at the prestigious Toronto International Film Festival. Alejandro Monteverde's directorial/screenwriting debut is a revelation of simplicity and earnestness. It tells the story of José (Eduardo Verástegui), on his way to sign a $2.2 million contract with Real Madrid that will catapult his career into the realms of soccer superstardom. A fateful occurrence will forever change him. Fast-forward to four years later, and José is still deeply troubled. Now the head chef in his tightly-wound brother Manny's (Manny Perez) Mexican restaurant, José spends much of his time tormenting himself with the memory of the fateful day that brought him to his knees. The occurrence in question is portrayed in a series of very effective flash-backs, creating intimacy with the audience while explaining José's emotional anguish. No longer a professional athlete, José's outward appearance mimics his inner turmoil. Clearly, he is all too engaged in the pain of his recent past, reliving the deciding moment when he lost his grip on a dream that came so close to its realization. In the midst of Manny's controlled restaurant chaos, Nina (Tammy Blanchard) has missed a few shifts lately, and Manny (suspecting substance abuse), decides to fire her. Although she has been a waitress at Manny's restaurant since its opening, he automatically thinks the worst of her, without offering her the chance to explain her absences. Nina's problem is not alcohol, but an unplanned pregnancy. Sensing there is more to Nina than meets the eye, José runs after her, catching up with her in the subway, where she confides in him her reason for being late. José makes a split-second decision to take the rest of the day off to walk around the city with her, without telling Manny. José then invites Nina to spend the day with his family, at their Rockaway Beach home. Nina discovers a close-knit, loving family—and the dark secret that José has been penitently carrying throughout his everyday life. Bella is a film rife with the ups and downs of family life, and not in the weepy fashion so commonly found in typical films of the genre. Monteverde does not attempt to force emotions out of his audience; rather, he lets his skilled actors tell a very realistic, very true-to-life story. It is a story about redemption. It is a film about the intertwining of people and their lives, even in the midst of their diverse histories. It is very much a "big city" story, with its collection of strangers who are destined to mean more to each other than they could imagine. The universality of its theme is apparent for this very reason. It is interesting to note that all the main characters are "fish out of water." Nina is all alone in the city, and one of the few white waitresses at Manny's Mexican restaurant. José has cloistered himself in the past, using his brother's bustling kitchen as a hideaway. Manny, the hard-working success story of the family, also happens to be adopted. Their Puerto Rican father refuses to speak English, even though he has a clear grasp of the language and lives in a predominantly Irish community. Then there is the unborn child that Nina is not certain she wants to carry to term. In spite of their cultural and personal differences, they are all united by a quiet turmoil. José finds in Nina a chance for redemption that transcends romantic involvement. Thankfully, Bella refuses to take an obvious or sentimental approach to the story's ending, sparing us any unrealistic fairy tale solutions to the common issue of single motherhood vs. abortion vs. adoption. The result is a compelling story of the healing and hope preceding the realization that there is no such thing as absolute control. In the words of José's grandmother: "If you want to make God laugh, tell him your plans." Therein lies the beauty of the message in Bella. Carla Lopez studies film and music at York University in Toronto. © Copyright 1997-2006 Catholic Insight
|
|
Latest: Reviews - Films |
 Bella-Beauty, amidst the chaos |
| The Golden Compass: Some observations, both personal and obvious |
| "The Passion of the Christ" |
| Talking about sex Kinsey style |
| Sister Kay |
 |
 |
 |
