Angeli armati

Once again screenwriter/director John Sayles has done it. I was flipping through the channels, and saw a movie in Spanish. I am a Spanish major so whenever a chance to listen to some dialog comes along, I usually will listen for a few minutes just for practice.

I became totally engrossed. I hit the info button on my DVR to see the name of the movie. I was on IFC channel & it said it was a movie about hoodlums. Uh, no... There was another movie same year same name that I've no doubt wasn't anywhere near as wonderful as this one. So I paused the DVR at the end & looked up Federico Luppi & crossed referenced it with Damián Delgado to find the real name of the movie. Which turned out to be this one. Enough of how I found it...

This is another great example of supreme storytelling by John Sayles. Anyone who has seen Lone Star or Passion Fish knows that he is a storyteller extraordinaire. Not to mention he usually manages to throw in some meaning. Another reviewer complained that there was meaning. Weird... I don't see anything wrong with that. Isn't that what most of us are searching for? In this story Dr. Fuentes is in an unidentified South American country that has been ripped apart by war and guerillas. He is searching for his students, doctors who were trying to help the indigenous population through medicine. He finds wherever he goes that his students are dead or missing. Along the way he encounters a boy with no family that becomes his "mascot" and later a deserter from the army with a hideous past. Then a priest who has lost faith, then a young girl who is mute. Each person has a story to tell, each person a part of the puzzle of what it is to be human and alive.

I loved the ending, because it showed that even when we think our lives have been pointless, we have like the concentric ripples in a lake after a stone is dropped, affected those around us. Our legacy lives on through the lives we have touched, whether we know it or not. I think that we think there should be some kind of concrete evidence that WE can measure to define our legacy, but it is never what we think it is, there is mystery, magic in the way that our lives mingle and combine to form meaning. Much like in "It's a Wonderful Life," even if you think you've contributed nothing it's not true. Or in the words of the immortal Whitman: "O me! O life!... of the questions of these recurring; of the endless trains of the faithless- of cities filled with the foolish; what good amid these, O me, O life? Answer: That you are here- that life exists, and identity; that the powerful play goes on and you may contribute a verse." (from Whitman's Leaves of Grass) What this movie says is just that- that each person's verse, identity contributes to the great scheme of things. I won't give away the ending of the movie, but the whole thing is just a grand example of a good story. Don't be bothered by the subtitles, it's a great movie in any language. And btw, the subtitles were pretty much right on. I just hate when I watch a subtitled movie & the translation sucks or is lacking. This is a great story, interesting people, good pacing (also directed by Sayles), and good acting too. I wish that more people could see this movie. God bless the Independent Film Channel. :)

This movie has some of the most expertly drawn characters I've ever seen in a movie. The acting and writing is absolutely superb. The ending is uplifting, but not sappy or overly sentimental. It's the type of movie that can be watched again and again.

Dreamlike, mythological, multilayered and almost mystical on the one hand, and on the other hand, vividly conveying the reality of Guatemala in the 1980s (which is what the film's story is mostly based on, though it draws in part from the present-day situation in Mexico's southernmost state of Chiapas, where it was mostly filmed; I think that the Indian language we were hearing was Tzotzil Maya). This film is as understated as its blunt, simple title (by the way, all violence happens offscreen). And yet it is so multilayered that I am still trying to absorb its many levels. It is a "road movie," and it is a profound spiritual odyssey for the main character; it is a suspenseful and unpredictable thriller full of unexpected twists, and it is mythic... in fact, we gradually come to realize that the entire story is being told, like a traditional myth, by a Mayan mother to her little girl. A beautiful example of the Latin American "magical realism" style. This film gets an unhesitating score of 10 from me... in fact, I think I may consider this film among my lifetime top ten movies.

Men with Guns is one of the finest films of the genre. It has legs- really stays with you, for years. The priest's story alone is brilliant filmmaking. I've been a great fan of John Sayles' work for many years, but I think this is both his most original and generally best work. The shame is that no one seems to have seen this film. I saw it 3X in theatres and there were never more than 5 people in the audience. MWG doesn't appeal to the short- attention-spaned sex-and-violence cravers. The history of 30 years of terrible civil war as close as Guatemala is something our children remain ignorant about. This incredible film puts that war into unique perspective. Sayles didn't seem to care if too many people saw it or not- subtitles alone guarantee a fringe audience confined to a few art houses. The film is not perfect- editing could be a little better; but what a story! The opening and closing scenes really work for me. I hope everyone reading these comments will go out and rent Men with Guns ASAP. Sayles at his best.

A retired Professor of medicine in Mexico begins a journey to reaffirm his legacy, that is, to find and reacquaint himself with the students who studied under him. His search takes him to southern Mexico along the Guatemala border, where an internecine war is in progress between guerilla soldiers and government troops. The war has left the country and its native inhabitants devastated. He find, tragically, his former students have all been killed: if they treated guerilla soldiers, they were executed by the army. If they treated soldiers they were assassinated by guerillas. He ends up with some companions on the journey: an embittered ex-soldier, a priest ravaged by guilt from the commission of an unpardonable sin, a woman who has been gang raped by soldiers, a boy who is old before his time. It is very interesting, and a tribute to a carefully wrought script, that none of these characters can be who they are: the doctor is no longer a doctor, the soldier has deserted, the boy can no longer be a boy, the woman a woman, the priest a priest. Their very violent and moving journey takes them to a mountain top and to the magical possibility of redemption. Mandy Patinkin appears briefly several times in the film as an American tourist, exploring the offbeat paths of rural Mexico. But he, symbolically, is much more than that. His role is one of the most intriguingly conceived elements of the film. Is he a guide? A celestial companion? The film is mostly in Spanish, although long sections of it are in native languages, such as Mayan and Huatl. They are beautiful languages, very musical in nature, and offer one more reason to see this vibrant, provocative masterpiece. This is one of the greatest of American films. Many critics said so and it received universal accolades from everyone except the public. They stayed away in groves, and I, living in Philadelphia, had to plan carefully in order to see it twice. Those who are critical of American film, believing it can never equal the philosophical attainments of European film, should see this film. Few films have dealt with eschatological issues as assuredly as this one: The Seventh Seal, Persona, Cold Fever, Forbidden Games, are some that have, and this magnificent film is very much their equal.