Así es la vida...

Of course it´s Ripstein. A great mexican director. In this movie he makes a very personal adaptation, to the México of our times, of the classical greek tragedy MEDEA. With a very sordid scenario and a really complex narrative. Using a TV like flashbacks and thoughts of the characters and like the place for the mariachis that plays the role of the classical Chorus of the greek theatre, this movie is a real masterpiece of our times.

This, is the first movie of latin american that has been made in a DV format. And this shows a possible future for the low budget productions.

The sublime, visual poeticness of `El Coronel no tiene quién le escriba' (qv), without any doubt one of the most beautiful films in Spanish from either side of the Atlantic, used beautiful photography, music and two excellent actors to build up an exquisitely atmospheric film evoking sincere pathos, such that the impact is tenderly psychological.

With `Así es la Vida' all that has gone; the subtleties of `El Coronel no tiene quién le escriba' (Gabriel García Marquez) are thrown out in favour of double-handed axe blows which obviate the outcome way before you get there. It seems as if Arturo Ripstein sought to bombard the spectator into oblivion with a pathologically overwrought story reaching extremes of visual violence which are not really justified. In this, his wife, Paz Alicia Garciadiego, is to blame. Her careful adaptation of Gabriel García Marquez's short novel, here becomes a `machaconic' bombast of disproportionate savagery. The film kills itself from its own blunt heavy-handedness, such that one tends to think that Mrs. Garciadiego-Ripstein was hell-bent on vomiting up her own masochistic `macho' feelings, rather than telling the story in a more heart-felt way: the result on the viewer may well have been just as powerful, without resorting to such exaggerated extremes.

Neither the presence of Tovar nor Yáñez lend much to the proceedings, unfortunately: the film derails around them. Added to that is the frustration of trying to work out a very marked Mexican accent which often left me half-guessing some of the dialogues. I do not usually have any difficulty with the regional varieties of Spanish on the American side of the Atlantic, but in this film, the going was definitely `muy chingadera'.

I hope that a far better conclusion can be made after seeing the next Ripstein-Garciadiego film – `La Virgen de la Lujuria' – with Ariadna Gil and Juan Diego. If not, I can only suggest that Ripstein change scriptwriter, if not wife………..

Así es la vida is the first latin american digital film transfered to 35mm. For those who didn't understand it, it's a contemporary version of Sénecas' Medea, a greek tragedy. So don't complain about the script because that was the intention of all that complex language. Based on this story, the film is excellent, the scenario and the ambient are very well mixed with the movement of the camera, so you get long scenes but not monotonous. For me, displaying the trio as a the chorus of a greek play was an excellent idea. Although is a little strange film, a Ripstein's film, for me the way they treated the character of Julia wasn't that strange. How she remains homeless happens at least here in Mexico City, how she is cheated, etc. So it's curious how a very old tragedy it's well adapted to our days. So, finally, it's a very good experiment in digital video, it's a simple story maybe, but with a lot of details on it.

Ripstein is México's most respected filmmaker. He belongs to the 1970's generation responsible for the so-called "new Mexican cinema", which produced some great works, as Paul Leduc's "Reed: México insurgente" and Felipe Cazals' "Canoa". Ripstein was one of the first to gain recognition with his very good B&W film, "Tiempo de morir" (1965), written directly for the screen by Gabriel García Márquez, with dialogues by Carlos Fuentes. It has rained a lot between this movie and his 1999 screen adaptation of García Márquez' novel "El coronel no tiene quien le escriba". In the meantime, he married screenwriter Paz Alicia Garciadiego, and since their first collaboration, "El imperio de la fortuna" (1986, after Juan Rulfo's story "El gallo de oro"), Ripstein's cinematic world has become overblown, slow, morbid, grotesque and misanthropic. One cannot blame Garciadiego for this, but she surely has a lot to do with it. "Profundo carmesí" (1996), their remake of the story told in "The Honeymoon Killers", is a good example of this couple's peculiar taste. In "La perdición de los hombres" and "Así es la vida" (both 2000), Ripstein once again enters the world of misery, though his characters are not precisely outcasts, as the fat nurse and her gigolo lover. This time he returns to his early free-style as he tells the stories of normal people, who choose weird solutions to their predicaments and whose dreams occupy on the screen the same space, an in the same tone and register, as their daily actions. If "La perdición de los hombres" is fine, things do not work that well with "Así es la vida", based on the myth of Medea as told by Roman playwright-moralist Seneca. While Euripides was sort of questioning polytheism in his tragedies, Seneca -born almost 500 years later- lived in the midst of the origins of Christianity, so the "moira" (destiny) and the Olympus gods were at stake. Medea (so admired by feminists) has never escaped criticism as a character that hardly can claim that Zeus or Destiny forced her to commit her crimes. Garciadiego knows this, so in trying to adapt the story to contemporary times, she introduces telling images of dysfunctionality (her Julia/Medea is viciously abusing herself because of her addictive relationship), but the screenwriter is at odds when she deals (she rather does not) with the religious and magic thoughts that impelled Medea's original actions: in this version they are almost absent. Julia/Medea (Arcelia Ramírez in a very good performance, considering what Ripstein and Garciadiego put her through) does practice "witchcraft" (by performing cheap abortions and silly spells), she has visions of her rival being destroyed by fire, and though Ripstein recurrently introduces the image of a golden van running through México City streets, there's no magic and nothing makes much sense, the less when Julia/Medea leaves home in a yellow taxi, as if nothing... On the other hand, Garciadiego's misanthropy is useful to explain Nicolás/Jason's actions, as in a very good sequence when Nicolás/Jason (Luis Felipe Tovar, a young Mexican Christopher Lee who seems to be in most Mexican movie these days) declares the "macho manifesto" while boxing. Wonderful Patricia Reyes Spíndola is also at hand and repeats her characterization from "La perdición de los hombres", this time as Julia/Medea's godmother, but I could not help feeling like a pitiless voyeur, watching these low class characters being described with so much ridicule and lack of sympathy.

The format of this film is typically theatrical. There are many soliloquies in which the character tells us how hard life is, the misfortunes that have beset the family and the uncertainty of the future. There are discussions between mother and daughter, arguments between husband and wife, and threats from an unrelenting landlord. There is a very slow fade between the numerous scenes like a theatrical curtain change. Surprisingly there is also a chorus of four who appear at odd times with appropriate songs. They philosophize on life as in some Greek drama. And why not? This happens to be a modern Mexican version of the classical Greek play "Medea".

I normally dislike modern versions of the classics....often experimental attempts at presenting something different that is rarely successful. Not so here. This is an amazing drama that should not be missed. It is so different, so unique, so powerful it will remain in your thoughts for days. What we see on the screen is no fairy story. It is as relevant to-day as in the days of ancient Greece. Just read the daily newspapers and you will see what I mean.

Nicolas a young and not so successful boxer is supported by his wife Julia who dabbles in herbal mixtures and witchcraft to augment the family income. They have two young children. When Nicolas falls in love with the landlord's daughter and seeks a divorce, the future of the children becomes a major concern. The outcome is horrendous.

Nicolas and Julia pour out their intimate thoughts as we watch the love that once they had for each other evaporate before our eyes. There is a sense of tragedy and impending doom wonderfully portrayed by the actors as we watch helplessly in desperation and the chorus from time to time reinforces our thoughts.

I liked very much the summing up by Nicolas in the final scene. Whenever tragedy overtakes us, it is difficult to assert who is to blame. The message in the film seems to suggest that it is rarely the fault of one person. Indeed,we must all accept some share in the responsibility. Such is life!