Gloria

Greetings again from the darkness. One of my favorite comparison points with non-U.S. films is to imagine how Hollywood might take the same story and twist it for mass appeal. It's pretty easy to imagine this one as a flat-out comedy with Diane Keaton or Goldie Hawn in the lead. Chilean writer/director Sebastian Lelio takes a much more interesting approach giving us a real world perspective on a divorced middle-aged woman seeking companionship and emotional fulfillment.

Paulina Garcia plays Gloria, a professional woman who embraces the free-spirited lifestyle that being long divorced allows. She has two adult children who are doing just fine in life, and a neighbor with noisy habits and a bothersome hairless cat. Gloria enjoys singing outloud to the car radio, and drinking and dancing at a local nightclub while maintaining hope that a worthy life companion is still in the cards. In other words, she is neither superwoman nor emotional train wreck. And thanks to the exceptional talents of Ms. Garcia, we are drawn to Gloria and care what happens.

We witness Gloria's flirtatious glances across the dance floor to Rodolfo (Sergio Hernandez). We next witness a middle-aged bedroom encounter that doesn't take advantage of the body-double directory. Once the girdle is removed (his), the two adults enjoy the moment, while vividly reminding us that all actors (and certainly all people) don't look like Brad Pitt and Angelina Jolie. Companionship has always been based on emotions, not aesthetics ... despite Hollywood's efforts to prove otherwise.

One of the more interesting aspects of following the relationship between Rodolfo and Gloria is that, in life, we all carry baggage. Sometimes our own baggage is easier to deal with than that of others. The birthday party for Gloria's son and the ongoing crisis with Rodolfo's ex-wife and daughters convey just how difficult it can be to recognize the effects of such scenarios.

The class of this sub-genre is the 1978 film "An Unmarried Woman" with Jill Clayburgh. Of course, in that one, Ms. Clayburgh was significantly younger than the Gloria character here. Still, some of the obstacles are similar and both feature terrific lead performances from actresses. The role of music in Gloria's life is especially poignant. At one party, there is a wonderful duet of "Aquas de Marco" (Waters of March) originally written by Antonio Carlos (Tom) Jobim. The song and the movie are about the daily progressions of life. The ending is especially spot on thanks to the original version of "Gloria" by Umberto Tozzi (re-made in the U.S. by Laura Branigan).

It's quite easy to view this story through Gloria's eyes and fully understand her "grow some" comment. However, for a different perspective, try looking at things through Rodolfo's eyes. Maybe Gloria is a bit more self-centered than what she appears at first glance. There are a couple of scenes ... the mirror and the peacock ... that hint at this same ideal. This appears to be Mr. Lelio's way of telling us that life is just not that simple and that we all have defense mechanisms that impact how we are perceived by others. It's just not as clear-cut as the initial reaction.

"Gloria" is one of those rare films; a female lead film that doesn't deal in hysterics or cattiness. The eponymous heroine dives into life and all its glories and miseries with such gusto that it's impossible not to be swept away with her.

After 12 years of being single and dancing in single bars with men in their 60s, Gloria meets a nervous but lovely and loving man, Rodolpho. He's recently divorced and still largely involved in the lives of his ex-wife and their two daughters. Can Gloria, who's children are fiercely independent and whose only real relationship seems to be with her maid, overlook this gentleman's problems and find happiness? Paulina Garcia is so candid in her acting that at times I was just completely shocked by her realistic approach. Gloria wasn't a parody or morality tale, she was a woman. And a woman a lot like my mum. Having been single for so long and having built a life for herself, she struggled to let this man with his weaknesses into her life. Her scenes with Rodolpho and on her own contrasted so shockingly.

At times sad and at times happy but never melodramatic or hysterical, "Gloria" took a mature and beautiful approach to life after 50. The nuances and psychological differences between Gloria and Rodolpho were prevalent but never overplayed or preached to the audience. Her scenes between her children and her highlighted her role in their lives - she was free of their dependency and, although Rodolpho seemed desperate to have that in his life, Gloria was desperate to be more a part of theirs. The one scene in which both children are together at a birthday party with Gloria and Rodolpho gives the audience so much. Needless to say, the tension and energy created when Rodolpho comes face to face with the competitors for her affection is incredible and destructive and so very, very real. The beautiful photography around the dinner table creates a visual feast of anxiety, jealousy, love and pride.

I went to watch this film with my mum. That was slightly awkward. The film contains some serious sex scenes between two middle aged people entering old age. The degree of passion present in them also took me aback. I started to look at my mum a bit differently after this film...

Finally, you probably won't see a more euphoric end to a film. When Gloria gets up to dance to the disco stormer of the 80s named after her, you'll be hard pressed not to join in.

Quite possibly the most fun I've had at the cinema in a long time.

I saw this film on a fluke last night and found it surprisingly enjoyable. I thought Paulina Garcia was excellent in her portrayal of the middle- aged, divorced "Gloria" attempting to find herself now that her kids are grown and have lives of their own. Her "romantic" encounter is pretty heartbreaking and realistically portrayed. I thought the film was a great character analysis of the challenges that the new "golden aged" generation in many Western countries deal with; a bit of isolation (as kids grow and start their own families), conflicting loyalties to lovers versus family (for those that are divorced), commitment to work, finding how to fit in as older adults, in a youthful and rapidly changing society.

Gloria Cumplido (Paulina García) is a 58-year-old divorcée. She's generally friendly but deeply lonely. She does yoga. She goes to a dance club for older folks. She meets Rodolfo Fernández (Sergio Hernández) and immediately gets into a passionate sexual relationship. He refuses to let her meet his family. At her son's birthday dinner, he sneaks out without telling her. She is devastated and breaks up with him. She's diagnosed with glaucoma. She eventually tries again with Rodolfo but this time, he walks out on her at a restaurant while on vacation.

The most compelling aspect of this movie is that old people get naked and have single people sex. I guess that's unusual in the movie world. Gloria has a compelling long road of self discovery in this movie. Paulina García plays it a little too understated for my taste. I would have liked her to be more explosive and more urgent. The movie is generally slow and quiet. There are some sly humor but nothing that is laugh worthy. Also what's the deal with Rodolfo? It's the most confounding weird idiocy that he keeps walking out on her. If I was her, I would be wondering if he's delirious or suffered a head injury. I just don't get Rodolfo.

It is rare to find female portraits of real women, with all their imperfections, vulnerabilities, as well as their strength and courage. I have seen many movies trying to represent the female universe, but "Gloria" is in my opinion one of the most accurate, honest, real I have ever seen. In his picture there's not a single cliché , or pathetic, or melodramatic moment and the merit is to be given to Paulina Garcià who proves superb, she does not represent , she is a real woman, as if she were not playing. She offers such a variety of expressions, gestures , evidence of a great talent, her moments of joy are as intense as her down ones, proving always so charismatic and real. In the end we stay disarmed in front of this woman, who lives her sometimes desperate search for life in front of us, and we cannot but sympathize, smile, cry and feel with her. But her merit is shared by the director, quite significantly a man, and a young man, surprisingly capable of offering a very sensitive and mature view of the female world, and an equally honest view of a rather miserable male universe.