El lado oscuro del corazón

If not for anything else, Eliseo Subiela's "El lado oscuro del corazon" will introduce the casual viewer to the poetry of Mario Benedetti, Juan Gelman, Oliverio Girondo as well as the director's own compositions. Eliseo Subiela is one of the best Argentine directors of all times, as this 1992 film clearly demonstrates.

Oliverio, the taciturn man we meet at the beginning of the film, takes us on a trip to Montevideo where, one night, he meets the exotic Ana in a night club where prostitutes gather. It's clear the mutual attraction Oliverio and Ana feel toward one another the moment they set their eyes on each other. It appears that, at last, Oliverio has found the elusive woman who can fly with him. These two souls make love, but Ana, being a hooker, reminds Oliverio his time is up. What is even better, Oliverio, an amateur poet, meets his match in Ana, who loves and knows the texts he recites to her as a way of introduction.

Oliverio has had his share of lovers. We see him making love to beautiful women, but none of them qualify as the one to fulfill his life. In a comic touch, Oliverio's bed is divided in two and when he finds a woman is not for him, he rings a bell in the night table and the other half of the bed opens up and the victim falls to an abyss.

In order to survive, Oliverio free lances as well as write poetry which he and his two buddies, Erik and Gustavo trade for food to the friendly restaurant owner who loves to recite the poems to his fiancée. Oliverio is seen walking at night, as well as when he travels to Montevideo when he feels the urge to see Ana, and has long debates with a woman clad in black who is Death personified.

One thing is clear, Oliverio can't have Ana, as she cleverly reminds him. Ana can't afford to be too generous with anyone. Ana obviously loves Oliverio, but she has other priorities that are only revealed at the end of the film. One of the best sequences in the film involves an erotic art exhibit by Erik that is not to be believed.

Dario Grandinetti, the great Argentine actor, plays Oliverio with equal parts of charm and mystery. Mr. Grandinetti makes an invaluable contribution to the success of the film. He is the main reason for watching this forgotten film that is full of poetry and magic. Sandra Ballesteros is seen as Ana. Ms. Ballesteros is an equal match to Mr. Grandinetti. Nacha Guevara plays Death with panache. Ms. Guevara, who is one of the best cabaret and performance artists of Argentina, is a huge talent that Mr. Subiela utilizes to the best results in the movie. As Oliverio's buddies, Andre Melancon and Jean Pierre Reguerraz are perfect.

The popular music by Mario Clavel, Osvaldo Montes, Chico Novarro and Fito Paez blend perfectly in the movie's atmosphere. The dark cinematography by Hugo Colace adds another dimension in our enjoyment of the film. Ultimately, this is Eliseo Subiela's triumph in a movie that is not only beautiful to look at, but to listen to the great poetry the director brings to it for our pleasure.

Eliseo Subiela's 1992 film The Dark Side of the Heart is an intoxicating mix of poetry, eroticism, and comic absurdity. The Argentine director, well known for such surrealistic films as Man Facing Southeast and The Last Images of the Shipwreck, outdoes expectations in Dark Side with more and better Latin-American style magic realism. The film has everything: lovers that levitate, a character having a conversation with a cow that represents his mother, talking to his other self that he keeps locked in a closet, having a heart-to-heart chat with the personification of Death (Nacha Guevara), and a love scene depicted as a roller coaster ride.

Oliverio (Dario GrandinettI), a handsome poet seeks out the perfect woman, the girl that can fly. "I don't give a damn if a woman's breasts are like magnolias or figs," he says, "if her skin feels like peach or sandpaper ... {but} on no account whatsoever will I forgive a woman who cannot fly." Those that do not fulfill his standards are summarily dismissed. With the push of a button, a trap door opens on their side of the bed, sending them falling into the abyss. Living the life of an artist in Buenos Aires, Oliverio is self-absorbed to the point of narcissism and the film looks at the world mostly from his (the male) point of view. He spends his days looking for a handout by reciting lines of his poetry to motorists and to restaurant owners in search of a free meal.

Oliverio has a friend Gustavo (André Mélancon) who insists on displaying his erotic sculptures in public but has to repeatedly bail him out of jail. The would-be poet travels to Montevideo in Uruguay where he finds Ana (Sandra Ballestros), a prostitute he tries to seduce by reciting the poetry of Mario Benedetti, only to find that she knows the poems as well as he. Refusing to fall for his too obvious come-ons, Ana is all business and rejects his obsessive pleas for romance. There's a little bit of politics as well, as Ana tells him that her husband was arrested and "disappeared" by Argentina's former dictatorship. Much to his surprise, he finds himself falling in love with Ana and pursues her until they can levitate together, soaring over tall buildings into the night sky. What better way is there to express love?

A film about a poet and his love for a hooker; the poet and his friendship with his artistic friends; the poet and his run-ins with the beautiful Death; the poet and his poems. A poetic film.

A masterpiece of poetry & magical realism. The "comic" device of the poet's dialogues with death is sheer brilliance; the many ways a heart can be used are explored masterfully; the friendship between the three Dionysian male friends is a delight. Rent this film. Keep it a few extra days and watch it again. It's hard to find, but definitely belongs on your "Ten Best" list.

This movie hit the box-offices in Argentina and drove the standard Hollywood movies out of their normal first places, concerning the numbers of spectators. And not without reason! The movie is not only a love story -the quest of a poet for the perfect woman- but also a story of the ´soul´ of Argentina. It is all about life and death and death in life. The style is superb: surreal shots are mixed with more ´real´shots that ensure the movie does not become totally vague and incomprehensible. The abundant use of poems adds to the magical, surreal, romantic character of the film. The movie kept (and keeps) me to my seat until the end. Subiela shows great love for film-making and this is reflected in this masterpiece. See it!