Alsino y el cóndor

Its obvious political biases aside, this movie was terribly made and impossible to follow. Scenes were pieced together as if someone had cut up the reel, scattered the tape on the ground, and given the director only five minutes to tape it back together in no particular order. When characters were in doubt for dialogue, which was often, unnecessary profanity was used liberally. The movie didn't make sense, it preached incessantly, and it had the same entertainment value as cutting off your own finger. Alsino can keep his condor, thank you.

Miguel Littin shows to us as by means of the collectivity is possible to reach the freedom. The film is developed in a jungle in Nicaragua, where there is a boy with the name of Alsino that dreams about flying, dreams about being free. The films shows all the ways that Alsino looks for the freedom, beginning with the freedom offered by countries of the first world; later with which Alsino thinks that it is freedom; later with the freedom offered by Capitalism; and finally account that the freedom is only obtained being united to its community, becoming Manuel. Also it is important to emphasize the position that Littin gives the woman, where the sample as it leaves from the fight in the search of the freedom.

The popular Dean Stockwell stars in this Nicaraguan movie as Frank, a US army pilot who collaborates with the National Guard of the Somoza dictatorship, against the Sandinista rebels. But Frank is a good man, and he's against the crimes comitted by the Somoza army against the peasants who have to survive between two fires. He befriends a young boy named Alsino (Alan Esquivel), who daydreams about flying and becomes a hunchback after falling from a tree. Frank invites Alsino to fly in his helicopter, which has a condor painted on it. The film is a powerful metaphor about the dreams of freedom of the Nicaraguan people, and, politics aside, i found it quite a moving experience. It shows that a picture can be quite artistic and beautiful, in spite of the budget restraints or any limitations of that sort. (6/10)

Alsino y el cóndor (1982)--called Alsino and the Condor in the U.S.--is an extraordinary film about an extraordinary time. Director Miguel Littin presents the story of a young boy, whose belief is that he literally can fly. Of course, physically he can't fly. However, his heart and his soul can fly because he realizes the possibility of his country throwing off a brutal dictatorship.

Naturally, the film has rough edges. Nicaragua in 1982 was a country with rough edges. The Sandinistas had thrown off the yoke of the Somoza family dictatorship, and Nicaragua was engaged in defending itself against U.S.-financed counter-revolutionaries--the "Contras."

I traveled to Nicaragua three times in the 1980's, and can attest to the historical and political accuracy of this film. This is a patriotic film, but it's not propaganda. It's a film about a successful revolution. We in the U.S. have Revolutionary War films because we're proud of our overthrow of a tyrant. The Nicaraguans made this patriotic film to offer their story of the overthrow of a tyrant.

Alsino and the Condor works on both a artistic and political level. Check it out. (Incidentally, and for the record, King George was definitely a good old boy in comparison to Nicaragua's Somoza.)

Alsin y el Condor was one of the worst movies that I have ever seen. The camera work was horrible, and the lighting made the movie worse. The simbolism and the point of the movie were illustrated well, but it didn't have a chance due to the poor quality of the tecnical aspects of production.

The story is about a boy caught in the middle of a civil war. American intervention becomes a complicated issue, and in the end causes the boy to choose a side- the guerilas. In this movie the boy discovers who he is, while the country is also searching for its identity. Overall, this movie was okay. Better lighting may have kept some people from falling asleep.