The Lost City

Born in 1962, in the mist of the turmoil, I left Cuba in 1967 thanks to the "Freedom Flights" at the age of 4. It was about time a film like this was done. I commend Andy Garcia and all involved for its historical accuracy. I am grateful for the "Ficos" of the time, like my parents. What courage and resolve. If history is not to be repeated, we must embrace it, learn from it, and not wash it from our memories. Incredible acting, music, scenery (thank you Dominican Republic). We need to remember "where we've been" so as to know "where we're going" - bring plenty of tissues; one box is just not enough. The only reason I gave it a 9, as opposed to a 10, is because I would have really liked to have seen some time dedicated to the family, specifically, the brothers, in their youth. The important relationship of the Cuban family would have been better understood if we had seen it from early on. The significance of the family nucleus, born of the parents' rearing, is crucial in the story of the Cubans. The relationship between the uncle and his nephews was synonymous with that but could have been further developed.

Critics all over have trashed this movie on account on its politics, angry at the way García has depicted Che Guevara as the real murderer he was, at the way he has portrayed the profound injustices and oppression of Fidel Castro's regime, at the way it does not conform to the sympathetic view Hollywood has always had about the Cuban Revolution. The movie suffers sometimes from the inexperienced hand of a first-time director, the lack of the epic budget it needed, and the poor acting of Inés Sastre but it is not a bad movie, not at all. It's an extremely entertaining film that uses its modest resources with great care to give us a dignified, sincere, notably balanced and very emotional document of the terrible experience of the Cuban people. Don't believe the extremely biased reviews of The New York Times, The New Yorker, and other media. Go and see it. Music lovers will enjoy a splendid mix of popular and classical Cuban music, and a great original score which will make a nice CD.

Watching this film, I am so reminded of Casablanca. Like Rick, Fico Fellove (Andy Garcia) is seemingly oblivious to the oppression and evil that surrounds him, only concerned with running his nightclub. Unlike Rick, Fico never changes and only connects with the enemy to save his brother or his friend.

The movie is just too darn pretty. It presents a Cuba that may be familiar to the upper class and the rich American tourists, and neglects to mention the Cuba that demanded a revolution. This Cuba, one of poor, uneducated peasants that were in virtual slavery on sugar and tobacco plantations and women who sold themselves to tourists, is seen only in Mikhail Kalatozov's Soy Cuba, which will be released in a deluxe edition this month.

The movie worth watching for Garcia's performance and the performances of Dustin Hoffman, Bill Murray, and Elizabeth Peña, as well as some great Afro-Cuban music.

It probably did great box office in Miami.

One day someone is going to make a decent film about the Cuban revolution, but in the meantime we will have to put up with half-baked efforts like this and Havana.

There is no doubting the earnestness of actor-director Andy Garcia's convictions but what we basically have here is an overlong and rather dull vanity project. Garcia plays Fico, an affluent nightclub owner who finds his family and life slowly disintegrating in the midst of the events leading up to - and consequences of - Fidel Castro's Cuban revolution. Long, deliberately-paced films are usually that way to establish a number of characters in depth and to lure the viewer into investing their sympathy and concern for these characters. But this film seems to take forever to tell us very little about Garcia's Fico or any other members of his family. Garcia looks perpetually miserable and seems to be trying to imitate Al Pacino in the Godfather movies, while the film itself seems to be trying to establish an epic sweep that it completely fails to achieve.

The film looks and sounds terrific, but Garcia isn't a great, or even particularly accomplished director. And what exactly is the purpose of Bill Murray's character? He's supposed to be a writer with an infectious sense of humour but he rarely says anything funny despite the reactions of other characters, and his presence adds nothing to the plot. Similarly, Dustin Hoffman pops in for a couple of meaningless scenes as Meyer Lansky which wouldn't be missed if they were removed.

I had hoped for better from Andy Garcia. The general idea is a good one: a quick look at the forces motivating the Cuban middle class to flee the island in the late 50's-mostly for the US, shown in terms of the disintegration of one upper-class Cuban family. But the dialogue is utilitarian and not much more, the characters are predictable, and what on earth was Bill Murray doing in it? He seems to be a sort of American clown visible only to Andy Garcia's character, like Harvey the giant rabbit. There are memorable visual moments in it, like the acres of white canopied tobacco plantation, with towering palm trees protruding; or Castro's guerrillas materializing out of the head-high sawgrass to intercept a mounted volunteer, or those great moody night shots along the Havana corniche. But the script is flat. It doesn't amplify the characters, and it barely advances the story. Judging by the comments preceding mine, I guess that my problem is that I'm not of Cuban extraction. I like well-made films, not films that stroke my particular political sensitivities, as this film seems to do for some viewers. THE definitive film about the Cuban revolution and/or the Cuban exodus and diaspora has yet to be made.