El amor nunca muere

Sometimes unlikely circumstances lead us to films that we'd never have discovered otherwise, and should these films turn out find our favor, those circumstances make them all the more special. It was by chance that I stumbled onto this picture, and I sat to watch with no foreknowledge or expectations. I step away completely stunned, for this is a treasure that deserves far more recognition. Luis César Amadori's 'El amor nunca muere,' or 'Love never dies,' is a drama filled with incredible, unfailing warmth in imparting its three tales of love. There's purity and earnestness coursing through these two hours that rather reminds of Giuseppe Tornatore's 1988 gem 'Cinema Paradiso,' or more recently Michael Sarnoski's 'Pig,' and if that's not a high comparison then I don't know what is. I assumed that one way or another I'd appreciate it, but I couldn't have imagined this little-known classic would impress as one of the best movies I've watched in recent months.

We're presented with three stories of roughly equal length that in one fashion or another involve a single medallion in the course of events as it changes hands over the years. I could easily see each story being expanded into their own full-length features, and I would no doubt admire them just as greatly. To be included all in one means that any excess is trimmed away, and we get only the best essence of each; in turn, we're effectively given a triple shot of outstanding Argentine cinema. All three narratives are highly engaging and enjoyable, deftly blending varied degrees of more downbeat drama with light humor and above all hearty, heartwarming romance. The first of these is roundly excellent, though it doesn't specifically leave a major mark; the second embraces a more significant measure of comedy, and would probably stand as my favorite even it didn't have me laughing hard before it came to a close; the third took me a bit to warm up to, but when all is said and done it rivals the second in its keenness and affability. I can only commend Amadori and co-writers Pedro Miguel Obligado and Luis Martin de San Vicente, for they have given us smart, well-rounded narratives with relatable characters and fabulously rich scene writing. The title is superb in general, but there's no doubt in my mind that the writing is one of its chief draws.

'El amor nunca mere' can also boast of stupendous production design and art direction, not to mention gorgeous costume design and impeccable hair and makeup. Tito Ribero's original music doesn't leap out at us as the score sometimes does in other works, but he very ably complements the mood at any time and I could hardly imagine this flick without it. Though the writing stands tall Amadori's direction is not to be counted out, for there is a smooth finesse to the proceedings by which the filmmaker dexterously guides three disparate sagas in miniature - each carrying vibes somewhat distinct from the others - to the same deeply satisfying ends of gently thrumming, heartfelt vitality. Above all, while everything here is marvelous, alongside the screenplay I'm of the mind that it's the acting that's marked as a load-bearing pillar. Down to the smallest supporting parts all involved very capably bring their characters to life and infuse the flick with an infectious joie de vivre that only further endears the whole to us. Make no mistake that some stand out above others, though, and while it's true that it is those actors in the most prominent roles, it's also true that there's no arguing they were cast in these roles for a reason. Sparks fly with the dynamics between Zully Moreno and Carlos Cores in the first segment, and between the two of them I don't know who is better; in the second segment Mirtha Legrand is indelibly charming, and Alfredo Alcón to nearly an equal extent, and they chemistry they share as scene partners is tremendous. Not to be outdone, as the third segment solidifies, Tita Merello's performance increasingly leaps to the forefront as possibly outshining all her co-stars; not knowing any better, I rather hope she garnered awards for her acting here, as it would absolutely be deserved.

Some of the most heavily promoted and highly visible movies can be gravely disappointing or even vexing; some of the least renowned movies, sequestered by time, geography, culture, or politics, can be immensely entertaining, stimulating, and rewarding. I could not be more pleased that as far as I'm concerned, this counts among the latter. The closet I could come to offering a word of criticism is that from one story to the next each might land differently, portending a smidgen of unevenness. To the extent that is true, though, the happenstance is negligible; from top to bottom 'El amor nunca muere' is a delight, and I'm so happy that I came across it. If you're at all open to dramas in general, as a genre of fiction, then in my opinion this is a fine piece that's well worth seeking out, however one might have to go about it. I'm over the moon with how good it is, and I'm glad to give my very high, hearty, and enthusiastic recommendation!

This one is the third Argentinian old film --1955-- I've decided to watch on "You Tube". There are so many of them that having been lucky with the first two I decided to keep trying.

And this one, "El amor nunca muere" (Love Never Dies) wasn't a deception either. On the contrary! I truly enjoyed them!! (I say "them" because this film was made with three separate segments that at the time was a sort of new format for films. Each segment performed by a totally different cast with a DIVA as the protagonist.

I was surprised seeing the cast and finding that three divas were in the same film, something impossible at the time since which one will have the name at the top?

But then when I saw the end of the first one after 40 minutes and the beginning of a new episode following the destiny of the medallion as the link or excuse to change period and actors, I realized that everything made sense, because the three queens didn't have to work together competing for close ups and the spot light.

The two first episodes are practically fairy tales, since they stretch reality and circumstances to a snapping point. The first segment takes place in the 18th Century, were the medallion belongs to a very famous actress of that time (Zully Moreno), the second episode happens during the 19th Century, when a lady buys it at a pawn shop (Mirtha Legrand as protagonist) and the third one in the fifties, when they made this movie, the recipient (Tita Merello) getting it as a souvenir from her absent husband through a visiting acquaintance in charge of the errand - -a husband gone from her life 18 years ago, never seen again and now dead.

This third episode is a genuine tear-jerker, highly sentimental and only lacking tremulous violin strings in the background.

Outrageous kitsch without complex, I loved them all.

I believe that to enjoy this movie one has to be Argentinian (Latin American?) since the three episodes are totally impregnated with intense, almost asphyxiating tenderness (better call it Gooyness), as much as a Mexican soap-opera couldn't have been produced in any other country in the whole world (well, in Argentina maybe). And better yet, it really helps if those actors are familiar faces to the viewer.

I must be brave and confess that the last one, with Tita Merello as the apparently rough old truck-driver and self-sacrificing mother of a brand new doctor that will marry a society girl... (corny, right?) made me cry, but cry in the Boo-hoo manner (I don't care what you think, I loved it!!!). Tita was an incredible actress and this character, I'm sure, was custom-made to her acting range since it fitted her as a glove fits a hand.

If you don't care for this sort of rosy dreamland fantasies, please, don't even attempt to watch this movie, but if you feel comfortable in fairyland... go ahead, enjoy these excellent samples of escapism... have a handy pack of Kleenex near by (on your lap preferably).