Dreaming of Julia

Saw this at the Hawaii Film Festival where the director and his wife (who produced it) took a Q&A afterwards.

I found it hard to believe this is a first time director and all kudos to Harvey Keitel for once again taking a risk and going out on a limb for a script he liked.

Certainly reminiscent of Cinema Paradiso, it tells the story of the young director on the turning of the revolution in Cuba. However, don't expect this to be a movie about the revolution, it's political stance is wonderfully ambiguous. Many references to the directors obvious love of film history (a great "Bicycle Thief" homage") and some whimsical scenes which work with out being pretentious.

Enjoy!

Dreaming of Julia was the title of the original script, and was filmed in the summer of 2000 in Santo Domingo Republica Dominicana. To release the picture they change the original name to Cuba Libre. The director's cut was 3 and a half hours long. It was released on the festival of Bangkok in Thailand. It was the second film of Gael García Bernal (the first was Amores Perros)

and the first of Juan Gerard as a Director. In the poster the names of Diana Bracho and Cecilia Suares does not appear. Diana plays the grandmother and Cecilia the mother of the kid. They are great actresses and they keep the story together specially Diana. Check her out in other things you would be surprised.

If you're expecting to learn something about History and the Cuban Revolution, this is not the movie you want to see. The movie focuses on the life of a boy and how the events of the revolution affect his wealthy family. Since the events of the revolution are unexplained it could give the sense to the viewer that what happened is not complex. There are subtle criticisms of both Batista and Fidel but they are also left unexplained. The US role is not even mentioned. For those that don't know Cuban History, there is different versions of what happened in Cuba (Cubans have one version and Cuban-Americans have another).

Rating

5 - 1 for NOT making the movie in Spanish - 1 for NOT making the movie in Cuba - 1 for the mistakes in acting or directing - 1 for simplistic storyline - 1 for the lack of historical background and explanation + 1 for Harvey Keitel's talent + 1 for Gael Garcia's talent + 1 for having Gael as a Revolutionary + 1 for original story + 1 for having well rounded characters and not making it a Good vs. Evil

= 5

Some of the historic events that are recognized by the great majority of historians that can help as background:

• Batista was a dictator that used torture and widely spread violence to protect his regime and the wealth of the elites. - Fidel Castro had the support of the great majority of Cubans at the time of the Revolution - The revolutionary government did execute about 400 of Batista's close allies. - The revolutionary government did expropriate all the belongings of the wealthy class in the name of the general wealth being.

Cheers to Letvia and Juan for the care taken to depict Holguin,Cuba of 1958.

It is quite a thrill to see the incredible city of Holguin in a movie.

The city, perhaps 100,000 strong in 1958, has grown substantially since then.

Today, you can still fly direct to Holguin from Miami. Well , maybe not you but I can. :)

Armin and Tete, characters in this story, are my aunt and uncle and, yes, they were in Holguin in 1958 the year i was born (in Holguin). Armin and Tete are alive and well and living in Hialeah, Florida.

Marcos@Rodriguez.com. 11/21/2012 http://www.imdb.com/name/nm5020153/

CUBAN BLOOD, a direct to DVD little film, has a long history. Shot in the year 2000 in the Dominican Republic as the first film for director/writer Juan Gerard (with writing assistance from Letvia Arza-Goderich) the film began as a 3 1/2 epic about the small town of Holguín, Cuba in the year 1958, a place where the Bautista/Castro clash was not as evident as in Havana. Originally named DREAMING OF JULIA (referencing both the sole entertainment for the little town - a movie house - as well as the sole Americana Julia who plays a significant pivotal role in the story), the film was next called CUBA LIBRE and finally titled (rather inappropriately CUBAN BLOOD. Juan Gerard has yet to make another film and one can understand why.

Holguín is a pretty, peaceful town whose patriarch is Che (Harvey Keitel - and the Che is an old grandfather, not the revolutionary), married to Beta (the very talented and dignified Mexican actress Diana Bracho), who are the beloved grandparents of the little boy (Andhy Méndez) whose story this film is as narrated by off screen mature Tony Planas. The impending revolution results in a loss of power for the town and the story is a simple coming to grips with the changes that are to be inevitable. The boy meets the Americana Julia (Iben Hjejle) who befriends him; he struggles with the town youths who mimic him as a chicken; he dotes on movies he watches with his grandmother Beta; he falls in love with the older Carmen (Farah Alfonseca) who in turn is in love with a quiet revolutionary sympathizer Ricky (Gael García Bernal in his second film after his debut in AMORES PERROS); he learns of Che's infidelity to Beta; and he watches the town and his family disperse with the coming of Fidel Castro's revolution. Seeing the events of 1958 through the eyes of a child is enchanting and for the most part makes for a sweet, though saccharine, film.

Cinematographer Kramer Morgenthau takes terrific advantage of the 'year without electricity' motif and makes most of the film shot at night with candles and lanterns creating a storybook loveliness that heightens the romantic aspect of this film. Perhaps in the original 3 1/2 hour version there were better character developments - especially in the case of Gael García Bernal's very small but pivotal role, and in the use of Georg Stanford Brown as a Greek Chorus 'Black Bum' who seems to be placed to make the events unfold with some sense of order.

The supporting cast includes some strong actors: Gabino Diego, Cecilia Suárez, Aline Küppenheim, Daniel Lugo, etc whose roles were no doubt better fleshed out in the original. But it is clearly the influence of Harvey Keitel that helped Juan Gerard make this film happen. It has moments but it too often falls into the novella melodrama realm to make it work for audiences trying to figure out whether this is an historic drama or a Cuban version of 'Cinema Paradiso'-type Italian films. Grady Harp