Love in the Time of Cholera

For devotees of Gabriel García Márquez this unprofessional adaptation of his sweepingly romantic novel 'El amor en los tiempos del cólera' will sadly disappoint. Ronald Harwood's screenplay is a patchwork quilt that attempts to tell the story of longing for love in the manner of a novella/travelogue and despite the presence of some very fine actors in the key roles, director Mike Newell forgets to grasp the atmosphere that makes the original novel ethereal.

Young Florentino Ariza (Unax Ugalde) is a poor dreamer working as a telegraph operator and sees and falls in love with young Fermina Daza (Giovanna Mezzogiorno), daughter of a wealthy mule trader Lorenzo Daza (John Leguizamo) who upon hearing of the infatuation whisks Fermina away as Florentino pledges undying love and fidelity to Fermina. Florentino's mother Tránsito (Fernanda Montenegro), his uncle Leo (Hector Elizondo), and his friend Lotario Thugut (Liev Schreiber) comfort him and try to encourage his mating with another woman, but as Florentino matures (now Javier Bardem) even the long list of sexual encounters cannot turn his mind away from Fermina. Fermina marries Dr. Juvenal Urbino (Benjamin Bratt), travels widely, has his child and ultimately discovers her husband's infidelity. Florentino inherits his Uncle's shipping wealth, becoming one of the wealthy class that would have made him an eligible suitor for Fermina when he originally met her. But time changes everything except Florentino's commitment to Fermina and after the death of Dr. Urbino, he has the chance to realize his long awaited dream of being with the now 70+ year old lover.

The story spans fifty years in an unnamed city in Columbia (here Cartagena) and across the beauty of both South America and Europe. All of the basic elements are in place: the important missing piece is the magic of Gabriel García Márquez's prose. The huge cast is wasted on a script that is less than pedestrian: Javier Bardem tries to make Florentino a credible sympathetic character but is stuck in the mud of his lines; the brilliant Fernanda Montenegro attempts to paste together the pared down role of Florentino's mother; an unremarkable Giovanna Mezzogiorno fails to make Fermina worthy of Florentino's devotion; John Leguizamo is grossly and embarrassingly miscast; fine actors such as Unax Ugalde, Liev Schrieber, Catalina Sandino Moreno, Ana Claudia Talancón, Hector Elizondo and others are little more than cardboard caricatures of the original creations.

One wonders how Newell and Harwood could have strayed so far from the mark of the potential that this beautiful novel promised as a cinematic transition. But what resulted from their collaboration is an overlong, boring, and sloppy version of the original story. Sad to see fine actors wasted in this film. Grady Harp

The screenplay writer took much pains to try and conserve the essential meaning behind Garcia Marquez's writing, but failed to capture the sentiment behind each scene. Another disappointment was directors interpretation of Dr. Urbino Juvenal character, played by Benjamin Bratt. He seems like a soulless social clown who does not know anything about his surroundings or of the social society of which he is apart of. The director's portrayal of Ariza and Daza's relationship as one of a rekindled romance during the latter part of the film, is incorrect as i believe that Marquez' intention was to show that two characters towards the end of their lives who had finally found a connection because they had suffered similar circumstances that had left both characters empty. Although it is true that most novels fail to capture the meanings behind such sentiment, this was at most a mediocre attempt. Out of a possible 10 i have to give it a 4, only because a writer as masterful as Marquez should not be misinterpreted in this way.

Quick, before the general release on Friday change the silent movie line back to "My God, this is longer than sorrow". What did she mumble instead, was it "interminable"? Why was that wonderful line changed?

I so loved the book, I cannot get an unbiased grip on the movie. My mind elaborated it favorably but with simultaneous disappointment over deviations like the "sorrow" line. "Forever" worked better in the book as the boat was ordered to return upstream. I do wish it had closed with the "ripple" video that is on the internet.

The film touched too many threads while missing the book's soul, like trying to read Fermina's heart on her tongue. Maybe it isn't possible for a movie to do justice to any masterpiece but Florentino's long-standing relationships with the widows are as important as the "body count".

Young Fermina was too old, as was America. I would have cast a 15-year-old as the young Fermina and have had her reappear as America with died hair or similar artifice. I cannot forgive the script for ignoring the perversion and her suicide. I would have rather America had been entirely written out.

Bardem was the perfect Florentino. Fernanda Montenegro and Hector Elizondo gave terrific performances. Marcela Mar is such a heart-throb I nearly forgive her for being twice her age. Cartagena was underplayed. The Shakira soundtrack was ideal.

I'll reluctantly recommend the movie but won't shake peoples' shoulders as I do when I tell them that they must read the book.

This was a vulgar and empty film. There was no content, only "emotions," for most of it, and very flat characters. It was exploitative in the extreme, so much so that emotional intensity the film was striving for ended up seeming a bit like a joke, and had no actual pull.

If you take away all of the psychology from characters and reduce them to "basic emotions" such as love, pain, sadness, fear, etc., but those emotions are not motivated by the story, then what you have is an empty spectacle, a bit like a live show at Disneyland. Not to mention the painful and unintentional mix of gritty realism and artifice, such as characters aging at different rates, having glued on mustaches that look like they're going to fall off, having an old head and a young body in a nude shot, or one character having a New York accent while the rest have Spanish accents (why wasn't the film in Spanish to begin with)?

Lots of gratuitous titties, done in an offensive way. And anachronisms such as the use of the word f**k in 1890, as in "your father f**ked everything in sight!" Ridiculous. In its favor the film has nice cinematography and some good costumes, and I think some of the actors made a valiant effort, but I still have to give it a 1 for being so condescending to its audience and for ruining the Marquez novel.

We all know the book is fantastic, but since the beginning I thought it was going to be difficult to capture its magic in a film, so I went to see it without too high expectations. There were some details that I found great, for example the music, the scenery, the colors etc. BUT I think the feeling of the story couldn't be reached nor transmitted at all, and the acting was below average. To me, the characters at the film were not interesting at all -anything could have been changed from the book and I wouldn't have cared- they were simply "other people". Shakira's (Colombian singer) songs with amazing tropical shots at the background are the best this film has to offer.