Erinnerung an die Unterentwicklung

This isn't just a film of historical value; far from it. It is one of the greatest films ever made by anyone. The balance of elements that went into this venture came out magnificently poetic and real. The semi-documentary style is deeply influenced by 'Hiroshima Mon Amor' and other New Wave classics, but the sensibility is Alea's own and distinctly 'Latin American Intellectual.' There are very few films that can make me cry, this is one of them. Not because of the story, but simply because of the way it is made, the beautifully subtle way it is expressed. The leading character's central tragedy of not being able to reconcile his own deep feeling for his people with his intellectual standards because of their 'underdevelopment' and subsequent alienated existence or more precisely their inability to transcend their alienation to reach a more fulfilled state is one of the most touching and relevant themes I've ever seen in a film. It is more relevant more today, 30 years later than it was then, everywhere, not just in the island of Cuba with its mere 7 million inhabitants. A great performance by Sergio Corrieri (I Am Cuba) provides the required erotic undertone and comedic rhythms to convey the true feel of an intellectual 'playboy' existence in early '60s Cuba. The effect of this film is visceral and must be seen to be appreciated, words can hardly describe it. Suffice it to say that it uses all the resources of cinema and then some, but subtly and with maximum poetic control, and is a thousand times more valuable than most of the pretentious art films of today. If only one tenth of one percent of the audience that will see a piece of garbage like 'Mission Impossible 2' (which I sat and puked through I regret to say, because of all the hype about the 'action sequences' of John Woo, to kill a couple of hours which I'll never again be able to recover) this summer could somehow miraculously be forced to watch and understand this film and see its parallels within their own society of computerized complacent banality, the intellectual level of this country would shoot up overnight.

There is much that is wonderful about this film, the first Cuban film to be released in the U.S. after the Revolution. I found the ending rather abrupt and unsatisfying and some of the political discussions were long-winded (the fast disappearing subtitles on the video didn't help), but overall "Memories" was vibrant and surprising. The film is made with a lot of the spirit of the French New Wave, lots of flashy film techniques. It felt surprisingly open and honest to me, to have come out of Cuba at the time it did. It depicts an intellectual who has opted to remain in Cuba despite his well-off family and his wife having taken off for the U.S. He stays, wanting to see "how everything turns out". Afflicted with a rather massive case of both ennui and horniness, the film captures his musings on the state of Cuban society, at times satirical and sensual, but always cut through with a pervading sense of melancholy. It makes me want to hunt down more works by its late director, Tomas Gutierrez Alea.

There are some great comments and facts here about this gem and I'll try not to repeat them. Alea presents a realistic, fascinating, and believable dramatization of the moral and political quagmire set in the early-Castro era through the POV of an apathetic bourgeois. The story delves into the inner psyche of Sergio, a lonely eccentric and sets out to illustrate its impact during the alienation on every level intertwined by transitioning culture at that time. He gets caught up in a relationship with Elena, their happiness seems perfect.

Alea elaborates this predictable story in which, from the beginning, the idea is built that something does not fully agree with what Sergio think will happen. The narration submerges you in the timeline and slowly seams things together in a brilliant and subtle way. I have always enjoyed this film minute by minute, the upheavals and the disappoints that happens to break the character mentally. The film is shot in semi-documentary style which is one of the highlights as it pushes the narrative with no room for spoon-fed character development. Even with limited emphasis on traditional storytelling the film carries emotional impact with solid acting effort throughout the runtime. Some may look at it from the view of art-house documentary with newsreel footage of the Cuban Revolution dressed up as a political drama, but it is more than that. Also, I will recommend Stefan Uher's The Sun in a Net (1963), Halina Bielinska's Sam posród miasta (1965), Paulo César Saraceni The Dare (1966), The Vampires of Poverty (1977), The Man Who Sleeps (1974) and Ice (1970). If you haven't seen it, I would suggest you do add it in your watch list.

To conclude Memorias del subdesarrollo (1968) is simply a brilliant character analysis, also a cleverly constructed political drama realised in a time where the facts truly are in your face.

I saw this film in a film class, where we were looking at the mix of elements of documentary footage as well as fictional footage (including the use of archives, stills, voice-over), in relation to Resnais' Hiroshima Mon Amour. All I can say is that I was interested in the film, and at times my interest really peaked up with the style, but it's not for everyone, that's for sure. The director is very talented with mixing the elements of making narrative out of seemingly non-narrative. Here and there I was even reminded of Bertolucci's Before the Revolution. But here and there I wondered 'would this be just better as a straight documentary on the post Cuban revolutionary world?' The questions raised by its main character Sergio are intelligent, but there are so many of them thrown at a viewer, or just in observations. And you may need to be completely up on your Cuban history circa late 50's-early 60's to catch some of the stuff inside.

The storyline itself is actually just as involving, if not more so, than the documentary side to the film, as Sergio's viewpoint of the Cuban's (misguided) revolutionary stances and problems with the bourgeoisie is a parallel to his relationships with women. The story with the young girl he seduces, and gets in trouble with, are some of my favorite scenes from the lot (and when I most woke up to watch). It's a little more tedious at times than 'Hiroshima' was as a hybrid-style film, and even with its gritty style that even in fictional form is very documentary-like, it didn't blow me away as much as it has for others who have commented here. However, I would say if you're into the history and hows and whys of the Cuban revolution and Castro and the Bay of Pigs, AND want a character to guide you through it all, this is quite the view.

Sergio, a bourgeois intellectual living off of (seemingly tenuous) rental income as a property holder, decides to stay in Cuba. The conflict set up between his intellectual convictions and the reality of Cuban life in the wake of the revolution makes up the central problem of the film. The film presents a year in the life of the protagonist, a year culminating in the missile crises of 1962. What makes the film is the candid nature of it's reflections on the role of the intellectual in political life - certainly THE hot topic during the summer of 1968. The film is also a stylistic tour de force, welding together neorealistic drama, newsreel footage, montages of life in contemporary Havana as seen from Sergio's flat (through a telescope), and some filmed Shavian-styled debates amid the action. Far from being a typical propaganda piece, the films treatment of the future of the revolution was very open ended, candid, and thoughtful. It's a film that emerges from the debates about the future and which stages it's own participation in that debate. The film features two significant cameos: Edmundo Desnoes - the author of the novel on which the film is based, and Gutierez Alea himself. Both cameos occur in diegetic reflections about art: a debate about literature in the case of Desnoes, and a talk with a young director in the case of Alea. This film is almost impossible to find in the US thanks to the Cuban expatriate zealot nonsense. It's available in Mexico though - on a fairly well mastered DVD. It's worth seeking out. It's one of the best Cuban films ever and one of the greatest films of the new wave era.