El baño del Papa

This is a movie about hope,friendship and the building rock of a society - the family.In the beginning I thought that religion would play a prominent role in the movie, but that was me rushing things up.

The people of Melo, a town in Uruguay, put their "thinking hats" once the visit of Pope John Paul II is anounced.These people envision a sea of visitors running through their town and prepare adequately,making sacrifices, only to be left with a broken dream and empty pockets..

In the beginning people make fun of their hazardous life, and in the end the same people defy the odds of life by turning on the other chick.

To higher spirits,salute !

Just loved this flick, though the poverty scenario portrayed is as absent nowadays as ragged children are to Naples. But a very compelling reflection of the Past. Never got to see Jean-Paul in the flesh, but was very lucky to see his successor, so very connected with that aura of Christ's Catholic representative on Earth - which is the basis of this film. Loved the crude bicycles, the foolishness and the running from border guards. A lot of Beto's eccentricity (played by Cesar Troncoso) has echos in Zorba, the Greek. He is a Tragic Hero.

I recently was browsing the foreign movie section of my local library and stumbled upon this particular DVD. I didn't pay much attention to it, other than it was released by Film Movement, which has an amazing library of indie and foreign films, and so I went ahead and picked it up.

"The Pope's Toilet" (2007 release from Uruguay; 97 min.) brings the story of Beto and his family and friend in the Melo community in Uruguay, not far from the border from Brazil. As the movie opens, we see Beto and several others biking back into Uruguay, heavily loaded with packages of all kinds. It's not long before we understand that Beto and his friends make a living smuggling everyday goods from southern Brazil into Melo. Meanwhile, Melo is getting excited about the upcoming visit of Pope John Paul II, and Beto and many others are thinking of a way to take advantage of this unexpected economic opportunity. To tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: first, it wasn't until I was about to start watching this that I noticed this movie originally came out in 2007, so almost 10 years ago. It is amazing then to notice that the movie has a certain timelessness about it, as I found this movie utterly fresh and mesmerizing. I was at first a little put off by the movie's opening disclaimer that the events portrayed in the movie are "in essence true and it's only by chance they didn't occur the way they're told here", whatever that is supposed to mean. But the Pope did in fact visit Melo (in May, 1988). Second, the movie's director pays close attention to the economic struggles of the Melo community, synthesized here by Beto and his wife and daughter. His wife has accepted her fate, while his daughter has big dreams of becoming a radio announcer and going to study in Uruguay's far-away capital Montevideo. In that sense, this is a rather depressing movie, as life is hard for this remote community. It's all the more exciting then when the preparations for the Pope's visit begin (signs emphasize the blue collar aspects of Melo), and people in Melo are wondering/contemplating how many Brazilians will cross the border for this historic moment (and spend money in the Melo community): 2,000? 20,000? 200,000?

Per the usual, the Film Movement DVD comes with a bonus shortie, this time the excellent "Video 3000" (5 min.) from Germany, an animated shortie about a person who has just received his new DVD player, and is trying to figure out the remote control. Just watch! Meanwhile, "The Pope's Toilet" is an excellent example of Film Movement's rich library of foreign and indie movies. "The Pope's Toilet" is HIGHLY RECOMMEDED!

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.