Avant que tombe la nuit

People's revolutions begin with the best of intentions, such as removing unjust rulers, but often have an unfortunate tendency to go awry, exchanging one dictator for another. Cuba is an excellent example of this axiom: in 1959, a small band of revolutionaries led by a young lawyer named Fidel Castro ousted Fulgencio Batista, the US backed dictator. Castro would have been welcomed with open arms by the US, had he not embarked on a campaign of nationalization, which led to Cuba's regional isolation and eventual alliance with the Soviet Union. In keeping with communist doctrine, Castro the liberator became Castro the jailer and began purging the freethinkers and anyone who was "different". If you happened to be a gay author and poet, yours was a dismal future indeed.

Reinaldo Arenas grew up poor and free, enjoying the liberation that only a child of the land can experience. His carefree world was shattered when a teacher discovered the boy's artistic bent, and communicated this to Reinaldo's grandfather. His reaction was to banish the boy and run away to the city. Undaunted, Reinaldo continued to nourish his talents and in the newfound post-revolution euphoria explored his sexuality. His ideas and sexual persuasion soon attracted the unwanted attention of an increasingly repressive regime, which would ultimately lead to his internment, re-education and exile.

For the second time in as many months, I find myself having a hard time reviewing a movie. According to the trade journals, "Before Night Falls" made fifty film critics' top ten lists (not a difficult feat given the dearth of decent films in 2000), has won numerous awards and is "one of the best films ever made". In light of these rave reviews, I keep asking myself one question - "Did I miss something?"

Spanish actor Javier Bardem ("Jamon Jamon") who infuses his portrayal with the appropriate emotional sensitivity and resolve brings Arenas to life. For Arenas, being forbidden to write was akin to being forbidden to breathe, he could not and would not cease his writing, even if it meant imprisonment and torture in a Cuban gulag. Like his passion for writingis sexuality, it was again not a matter of choice, which Bardem makes very clear. Johnny Depp adds another interesting character, or more appropriately characters, to his pantheon of performances in a dual role as a talented transvestite and a brutal military commander. His characters emphasize the duality of relationships in police states, where your best friend may be an informant and you trust no one (as many horrified East Germans discovered in post-wall Germany). Equally impressive was Andrea Di Stefano as Pepe, Reinaldo's part-time lover and all around bad influence. The technical aspects of the film are more ambiguous. Director Julian Schnabel's decision to splice in grainy film footage from post revolutionary Cuba was as bold as it was ingenious. The scenes, which contain little dialogue, contribute a tangible realism to the film, and convey the initial jubilation and eventual stifling repression of the newly "liberated" country. Music is also used very effectively to establish mood, with some surprising non-Latin choices- Lou Reed's "Rouge" substitutes for dialogue in a nightclub scene, and speaks more about betrayal than any words could. I do however, have several reservations about the film.

At times, the direction and editing is erratic. This in turn disrupts the continuity of the film and makes several scenes difficult to follow. For example, while I realize that the film is about an author and poet, the inclusion of his poems is done haphazardly and serves little purpose. More importantly, while the poems are read in Spanish, the bulk of the dialogue is in English. This wouldn't normally be a concern, except that, several of the cast members have very thick accents and do not speak English well. It would have made more sense to have Spanish dialogue throughout and use English subtitles. As it was, I regularly had to strain to understand portions of dialogue and almost missed several key elements.

Schnabel's film paints a beautiful and sometimes-ugly picture of one man's constant struggle against state-sponsored repression and discrimination. The story is especially poignant when you remember that events unfolding before you are true. In spite of excellent performances, and interesting direction choices, the directing is also inconsistent at times and several poor editing choices cause the film to drag in places. "Before Night Falls" is a very good film that should have been great.

Gorgeous adaptation of Reinaldo Arenas' best-selling autobiography of the same name. Javier Bardem gives a towering performance as Arenas, the famous Cuban poet who found himself constantly in a state of being unwanted by the world around him, and yet still full of the ability to see the beauty in it. Using stock footage of Castro's military-ruled Cuba, a haunting score by Carter Burwell (with Lou Reed and Laurie Anderson), and many cameos by famous actors (Sean Penn being the only one that really misfires, Michael Wincott being an exceptionally good one), director Julian Schanbel has created one of the most touching, affecting and polished film works of the whole year. Johnny Depp stands out in a small role dressed completely in drag (and he's gorgeous!)

Evocative and moving story based on the life of Cuban writer Reinaldo Arenas. The film has excellent acting from Javier Bardem (and smaller but equally excellent performances from Johnny Depp and Sean Penn), wonderful scenery and, most of all, powerful and moving snippets from the work of a novelist whose poetic powers can inspire and lift above the poverty of life or bring emotional poignancy to the depths. This is set in a country where, under Castro's rule, there is no "upper class" - and yet where brutal intolerance can be shown to any 'misfits'. Arenas happens to be homosexual, which is unacceptable, and his poetry extols natural beauty (which is, it seems, seen as counter-revolutionary). The writer survives torture and imprisonment but his works survive and the success of his novels prove an inspiration to him as he survives in abject conditions. The film is a bit slow to start, and occasionally meandering, but overall it provides a powerful piece of cinema.

There's no doubt that Julian Schnabel knew exactly what he was doing and what he wanted in making this semi-bio on Cuban poet-novelist Reinado Arenas ('43-'90).

Trouble is, how interesting a film is it? Clocking in at 133 minutes, it's a long time to wade through so much flabby footage to get to the good material.

In a most meandering manner, the film mixes fact with fiction, and contains equally engrossing and tedious episodes. Often actors take too long to react to too little. Then again, the screen is filled with some compelling scenes, which make impressive statements.

Like his "Basquiat," made four years earlier, Schnabel doesn't seem to be able to create a consistently viable product with a sense of directorial energy, timing, or structure.

On the plus side is Javier Bardem's well executed lead performance. Almost unrecognizable American actors Sean Penn as Cuco Sanchez and Johnny Depp as a striking Bon Bon and slimy Lt. Victor also equip themselves extremely well.

But it's Schnabel whose at the helm here. This self-proclaimed neo expressionist "lion of New York art world" painter-art director-writer-director is a bona fide talent. What seems in order is for someone to shape and direct that talent into something with more pertinence and drive.

"Antes que anochezca" does have its followers, however, and they can continue to support Schnabel's esoteric art house film career.

Incredible central performance from Javier Bardem ties the film together and makes you really care what happens. Great supporting players: Sean Penn has one incredible scene early on, who had us convinced he was Cuban. We didn't at all recognise him. Johnny Depp plays two small parts, but two very memorable ones. Growly-voiced Michael Wincott (played the bad guy in The Crow and Along Came a Spider and The Doors' manager in The Doors) is memorable. Andrea di Stefano is great as a central antagonist of Reinaldo, as is the now-Hollywood-famous Olivier Martinez who plays a touching, platonic friend to Reinaldo.

Beautifully photographed and directed in an admirable manner that draws attention to style every now and then in a poetic way very fitting for a bio-pic about a poet, and at other times just utilises style to tells the story very well, and seem not to be fussing about style at all.

There are scenes here where the sound effects track stops and this gorgeous cello music by Carter Burwell (composer of Being John Malkovich, Meet Joe Black, Man who Wasn't There, with another beautiful score) plays while we watch Bardem sitting in a club while people dance around him, and the music tells us he is far away. It is a wonderful scene, akin to Kurosawa's use of music in the brilliant burning of the first castle scene in Ran.

The way the camera tells this story was so marvellous and slick (though using rough camera work to tell moments of uneasiness, importantly this is not over-used as it was in the recent Eternal Sunshine of the Spotless Mind) that i knew the filmmaker had been influenced by American filmmaking, but throughout i had no idea the guy actually WAS American! The TV program misleadingly told us it was a Cuban movie (which it is not - it is an American production with Spanish, Cuban and American actors)

I'm even more shocked considering this is the guy who made Basquiat, which i always thought was more a tele-movie, and more about art than about movie-style. Julian Schnabel, i now learn, was a neo-expressionist painter in the 80's! Basquiat, about an artist, perhaps was a movie where he was making the transition between art-language and movie-language. Before Night Falls uses traditional storytelling, to be sure, but it has such a spellbinding cinematic quality i felt sure its director was one with cinema on the brain. Perhaps Schnabel has caught the bug after all.