El baño del Papa

Don't be put off by the title, as Uruguyan writer/directors César Charlone and Enrique Fernández have, in 2007's The Pope's Toilet, crafted something stirring; resounding; fascinating and heart breakingly tragic, a classy adaptation of true circumstances once upon a time. The film covers a handful of people in and around a poor family of a small Uruguyan town on the Brazilian border called Melo and what it is they believe in; what it is they entrust their dreams and aspirations with, be they of a religious ilk or even career related, and the consequent danger of these things being shattered. The film is a humbling, down to Earth drama about people living in border-line third world conditions just trying to pull through; a harsh damning-come-exploration of supply and demand business ideologies; a light, non-causality driven comedy about a family man and his local friends; a terrifying drama about a man on the edge as he invests time and money in a venture for sake of Capital gain. It is a remarkable little drama, a deftly directed piece which changes gears and tones as easily as you like and retains a certain balanced sense of both joy and foreboding throughout.

César Troncoso plays Beto, the father of daughter Silvia (Ruiz), and husband of wife Carmen (Méndez). He is a man living with them under living conditions as basic as you like, persistent sights of burnt out cars and trucks sitting around on neighbouring lawns, peeling walls on a number of local buildings and dirt roads more often than not leading you off to wherever it is you want to go. When we first see Beto he is, like many people appear to do so, journeying back home to Uruguay from adjacent Brazil following some shopping; dealing and, ultimately, some smuggling. His pedal bike is no match for those surging by on scooters, his idea to skip around the checkpoint to avoid the authorities no match for their off terrain truck headed by a foul mouthed customs official whom takes sadistic glee in infantalising them via his verbal berating and then scuppering their plans. Times are tough, with even those whom are of similar ilk to you in the form of his class and predicament seemingly outranking him in the form of their transportation.

Opportunity strikes when it is announced Pope John Paul II is to come to their tiny town for a mass gathering; sessions of prayer and Catholic rejoice sure to follow. Devout Catholics themselves, Beto and the locals' true cause for celebration arrives in the form of business franchises and ventures that they feel they can set up so as to rake in money off of the large number of people whom will gather in their town as a result of this coming. The announcing of it is followed by a technique known as the gaze, which is applied to the film by Charlone and Fernández during which the lead's intense stare back at the screen is captured moments after the TV announcement. It suggests a look of longing, not in an erotic sense as usually is with said technique but in a manner resembling 'want' as ideas resonate. We sense he smells an opening after defeats to the state in the form of customs, with which a large legal cash flow will surely arrive given this fresh revelation, and it is here the film concentrates on his drive to do what he decides to do. Some are getting ready to dish out large amounts of food, others try selling clothes and Beto is stuck on constructing the titular lavatory: a public toilet located in his front garden in a booth complete with hand-wash and dry service at a counter just outside it.

Where others have gone down more familiarised, even normalised, routes; Beto has thought outside the box and gone into the constructing of a toilet out-house cubicle, one he reckons of only very few lavatory's within the area that will cater to those whom need it. As hype around the visit builds and they struggle to finish off the cubicle with mounting issues outside of this venture, a real sense of tension and something on the line is flawlessly inserted into proceedings. The thrill is in how the film puts mostly everything the family aspire to on the line at expense of this Papal visit, and Beto's charging around attempting to fulfil this dream and prove himself to his family as a pure, unadulterated Capitalist cash-bringer. Silvia appears to be headed for a career in sewing and stitching, something she would much rather substitute for a job within the media industry resembling working as an anchorwoman, but something that would require high university fees and the living in capital Montevideo. With Carmen, the arguments and disagreements that hint at near full-on disenchantment between the two of them in their marriage are papered over only by the odd uplifting exchange. You feel a greater extent of well being and positive attachment between the two is at stake.

Where a Spanish language film set in the 1980s about a poor Urugyuan constructing a public loo for a visit of The Pope may very well turn people off the idea of seeing this wonderful drama, those without a philistinery gene will surely warm to the piece. On a closing note, and when certain first round groups of the recent 2010 football World Cup concluded, there was a short VT on television about a South African woman and her one-off market stall franchise which would now have to be shut down. This was due to the leaving of so many foreigners and tourists whom come to where she was based but then left as the event shipped out of her home city. With it, all extra business gone too. I didn't think much of it at the time, but seeing this 2007 piece and recalling that woman had me see things a little clearer: a triumph.

El Baño del Papa (2007) written and directed by César Charlone and Enrique Fernández, was shown in the U.S. with the title, "The Pope's Toilet."

The film stars César Troncoso as the small-time smuggler Beto, and Virginia Méndez as Carmen, his loving but cautious wife. The Pope is going to pay a visit to Melo, a small Uruguayan city near the Brazilian border. The residents of Melo are in a fever of anticipation about the visit, especially about the thousands of Brazilian tourists who will come across the border to be present at this historical moment.

Beto, like all his friends and neighbors, is caught up in the almost ritualistic excitement. He has the creative thought of constructing a pay toilet for the tourists as his means of finally making some real profits.

The rest of the plot hinges on Beto's schemes to acquire enough capital to construct the toilet, and to get the project finished before the Pope arrives. In order to do this, he has to come to terms with people other than the "honest" small-scale tradesmen who purchase his smuggled household goods. He strikes a deal with the devil, although there were varied opinions within our group of just who the bad guy was. (He was obviously a bad guy, and he had power over Beto, but we weren't sure of his exact role. I think he was the local customs officer.)

The acting in the film was uniformly good, and the two leads were outstanding. The locations seemed authentic to me, although I have no way to judge this. The subtitles were fine.

We saw this film at Rochester's Dryden Theatre, as part of the excellent Rochester Labor Film Festival. It will probably work very well on a small screen. It's an interesting, if flawed film, and worth seeing as long as you don't expect a masterpiece. Let's face it--Uruguayan films don't come along every day, at least they don't come along in Rochester. "The Pope's Toilet" is a way to enter a culture that is like our own in very basic ways, but far different from our culture in practical, day-to-day matters.

*Note* Avoid the trailer for this film. It gives away the plot and the best lines.

If you are looking for effects, heroes and such, don't watch it. If you watch movies as a thread of facts, or scenes, you'll never understand a movie like this. But if you open your mind enough to understand what poverty does to the characters; their broken dreams, their lack of material goods, their lack of education, food, etc., and read carefully each one of the subtle (and not so subtle sometimes) messages about honesty, friendship and family values, and how strong those values can be, you'll find you are watching a little jewel; surprisingly, non-pro actors almost outperform pro actors, thus making a very fresh and simple film, very natural. A message goes to church: it seems church doesn't care about poor people but only when is good marketing; feeding kids in poor countries (just an example, not related with the film) may be of great impact, but getting involved with problems and faith of people seems not to be important at all. That doesn't means stop feeding kids; that means not making a display of richness each time a country is visited, cause seems that the church laughs at people's poverty and suffering. I guess that's why so many of us in Uruguay believe in god, but doesn't trust the church as an institution anymore. Press credibility is at stake too. My personal opinion from now on: the message is clear.. the flame of values is still alive. Don't let it die, cause only values will keep us alive as big family.

Melo is like this. The film shows the reality of this area of the country where very poor people have to do their best in order to survive. It is the reality of most of our peoples in Latin America. Their dreams and their daily struggle against poverty and frustration. The Pope's visit is a very good way to show what these people do every day to live a "decent" life. The direction, the actors, the natural scenery. everything is in its right place and all of us left the theater with the feeling that life is so and nobody can do anything to change the way thing are for them. Just one word to define it: Excellent.

Reading the seven reviews about this movie broke my heart. How is it possible that we have only seven reviews of such a good movie when we see some dribbling silly Hollywood comedies with hundreds of reviews??

Well, that tells us about the sad state of the world. "El baño del Papa", ("The Pope's toilet"), has received, from seven reviewers, very well appointed comments, so I won't go much further into that; just from my point of view, I can add that I don't remember having seen a film as dark as this one with that sort of a downhearted feeling at the very end.

It reminds one of the 1940's Italian neorealist cinema. Or the Brazilian films about poor people. The contrast between the Pope, wrapped within yards and yards of excellent quality clothes, clean, perfectly shaved, probably exquisitely perfumed and made up, enclosed in his armor-plated Papa mobile, unreachable, aloof, always surrounded by dozens of bodyguards, delivering his totally unrealistic talk and obviously ready to leave that miserable place as soon as polite etiquette will allow him to, and the stark poverty of these suffering and hungry strata of humanity, full of aborted expectations and barely covered in rags in that very cold morning, reminded me of another excellent film, the Italian: "Brutti, Sporchi e Cattivi" ("Ugly, Filthy and Bad"), filmed with the same kind of marginal people and showing their fight for survival at any cost.

*SPOILERS AHEAD*

But the glory of this film comes with the final scene, the one around which the whole movie was constructed. We are given the same expectations of sudden riches that these villagers have had throughout the whole movie, from the very beginning, when they learn by watching the news on TV that the Pope will make a stop at Merlo, their forgotten little place in Uruguay, borderline with Brazil, to be cruelly taken away with a sudden crush from cold reality in no more than 10 minutes at the end, after a whole month of expensive preparations for the event, all villagers hoping to make some money from the tourists coming from Brazil to see the Pope in person. Tourists that will be hungry and thirsty and will buy all the food prepared during that month of high expectations. Only 400 hundred tourist came for the event, and the locals have had almost 400 hundred tents collapsing with food!! (they were told by irresponsible TV people that 50.000 visitors where expected!!)

Practically none of the tourists bought anything, in total indifference to the many offerings, and they left as they came, on their buses.

Totally heartbreaking. These villagers invested every little cent they had (some of them taking a mortgage on their sordid homes!!). It leaves you breathless. What a lay down!! Probably, as I said before, one of the most overpowering endings of any movie I had ever seen.

This devastating event really took place in Uruguay in 1988.

*END OF SPOILERS*

"The Pope's toilet", another foreign film (for the USA) that Hollywood will never dream of touching, not even with a ten foot pole, to make an American remake of it. But this one YOU MUST SEE!!