Manito

Here is a film (along with "City of God") that explores a violent world infested by drugs--and uses a cast of non-professional actors. Shot for much less money than the Brazilian masterpiece, Manito is something of a "minor masterpiece". I had heard that the images and editing are jarring. But I discovered it to be, on the contrary, a beautifully photographed film, the grain structure of which reminded me of 8mm Ecktachrome stocks from the 1960s...Furthermore, the camera choreography is a daring risk to mimick the exuberance of a passionate family in the throes of a tumultuous celebration that turns to tragedy. This is a style that could not be more perfectly suited to the material. The highest compliment one can say about these incredibly brutal yet beautiful images is that nothing like this has ever been seen before. "Manito" is better than virtually every other film made in America this year. That's not saying a whole hell of lot in year that has given us one bomb after the next. But "Manito" is a significant achievement.

The beauty of the movie lies in it's grittiness. It's a small intimate portrait that subscribes to the idea that there are stories every where that's worth being told and we as audience members have the responsibility to appreciate that. Manito isn't wholly original, nor is it groundbreaking, but it is a story, and a strong story at that which provides a certain truth that has been a long absent from the regular Hollywood fare. Take the time to watch this film. I guarantee you won't be dissapointed.

Here is an involving family drama that refuses to be categorized. Is it a Dogme film? Is it an experimental work? Is it an offspring of Cassevettes? Of Scorsese? Of Sidney Lumet? Is it a foreign film shot in America? Is it a piece of verite filmmaking? Or is it more rooted in Documentary?

Set in a Manhattan Latino neighborhood, the story sets out with a very broad canvass, filled with the colors from all aspects of its world. The technique is at first documentary and little by little becomes something that feels more familiar. As if the filmmaker decided to trick you in to the story through some kind of visual artiface afterwhich you are so engrossed, you no longer are concerned with imagery but only for the characters.

The story has no less than ten very memorable scenes. My favorites were the big graduation party that seemed truly captured (and not staged). There is also a scene in a prison that was one of the most emotionally moving moments I've experienced in a long time.

If the film has a flaw, its that the story feels too unremittingly bleak in the end. I'm not suggesting that I wanted a happy ending. But, I did feel like the director was overally hellbent on proving his dark view of the world.

I give this film a 9/10 and highly recommend it to people who enjoy Art films and World Cinema. (If you are a glossy Speilberg, this film is not for you)

Eric Eason's "Manito" is one of the most powerful films in recent memory. There is such raw energy that it involves us from the start. "Manito" uses a hand held camera technique that gives the viewer an intimate interaction with all the characters presented in the movie. The rhythm never stops throughout the film and at the end we don't want it to end, but wisely, Mr. Eason has given the movie the right length in this satisfying look at real people, something not to be found on a Hollywood make-believe film.

"Manito" presents a situation about two brothers, Junior and Manny, who are as different from one another as day and night. Junior is quick tempered, has a violent nature, and Manny, is a young man that is mature beyond his years. Both brothers love one another dearly. Their environment will interfere in their lives. In the span of only a few hours, violence makes an unwelcome appearance, as Manny is faced with a situation where he is given a gun in order to take justice in his own hands, with dire consequences. In turn, Junior, trying to help Manny and the uncertain future that awaits him in jail, decides to confront his own father who years ago had let him go to prison when he was innocently charged for what the old man had done.

The energy in the film is enhanced by the cast, most of them non professional actors. Franky G. makes Junior come alive. Leo Minaya plays the good brother Manny. Jessica Morales is perfect as the beautiful Marisol and Julissa Lopez is Miriam.

Technically, the film has a grainy look that cinematographer Didier Gertsch gave it. The musical score by Saundi Wilson plays well in the background. The direction of Eric Eason is what makes this film come alive. We are given a real life situation that is dealt with realism and conviction. You will not regret watching it.

I just watched this film for my Latin-American Cinemas class. I wasn't overly impressed with "Manito," but it is a good film with a realistic, inspired feel. I can tell Eric Eason based the script on real-life experiences, and didn't simply recycle old Hollywood crap. The narrative definitely has uniqueness. The scene on the subway train, where Manny is with his girlfriend and two hoodlums taunt them, is an extremely powerful scene with no cheap cinematic devices. Since it's shot guerilla-style on hand-held digital camera (don't quote me if I'm wrong), there are no pretentious extreme close-ups or anything like that. We're simply taken in by the drama of the situation. The acting is good, though I don't suppose many of the actors were playing characters that drifted from their regular personalities. Franky G, who plays the lead, is a fine actor and it's nice to see that he moved onto bigger movies like "Confidence" and "The Italian Job." All in all, the film is not highly memorable, but it was written and directed from the heart, which is what I appreciated and why I could forgive little flaws like the clumsy lighting (since most of it was natural light that really didn't do the job). Also, I could've done without the heavy-handed symbolism of the train coming in during the opening titles and moving out at the conclusion.

My score: 7 (out of 10)