Manito

"Manito" is an independent film in every sense of the term. From the gritty lightning down to the jumpy out of focus shorts, "Manito" envelops neorealism. At a running time of not much more than an hour, the small investment required is well worth ones time. The payoff however is disappointing considering what could have been. While watching "Manito" I found myself wondering if the flow of the film was done for artistic or budgetary reasons. I cannot give credit to a film for artistic achievement when in truth it was all that it could afford. This is not to suggest that "Manito" is low budget (even though it is), in contrast, the credit instead must be given to how engrossing of a story can be created by anybody with enough ambition to do so.

In reality "Manito" isn't a feature film, it's what I consider to be a short. Technically it gets lumped in with the feature films, but when there are a number of television shows that match your running time it all becomes arbitrary. The premise behind "Manito" is that the older brother 'Junior' is trying to rebuild his life after getting out of prison while his younger brother 'Manny' is doing a good job of preventing himself from following his older siblings footsteps. The film does a good job of bringing the audience into the story and making us care about the characters, almost to a fault. I ended up caring so much about these characters that when the film was over I felt cheated that there wasn't more closure. Sure artistic license will defend the choices made, but I feel that much more was possible if another 10- 15 minutes of material was written.

My complaints are actually quite minute when it comes down to overall enjoyment. The dialog while far from creative is grounded and delivered with great emotion that makes me care as much as they do. 'Junior' is the star of the film and carries much of the weight. The viewer can't help but feel like he's really doing everything he can to make right on his life despite still being human and showcasing flaws that many of us without records posses.

In the end, "Manito" is another example of how powerful nature is in our development. No matter what our plan may be for our life. No matter how well we execute our plan. Our environment is likely to win-out in the end. Fortunate people in destructive environments who allow themselves to fall victim to circumstance are a cautionary tale for the rest of us to never take our good-fortune for granted.

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The beauty of the movie lies in it's grittiness. It's a small intimate portrait that subscribes to the idea that there are stories every where that's worth being told and we as audience members have the responsibility to appreciate that. Manito isn't wholly original, nor is it groundbreaking, but it is a story, and a strong story at that which provides a certain truth that has been a long absent from the regular Hollywood fare. Take the time to watch this film. I guarantee you won't be dissapointed.

Eric Eason's "Manito" is one of the most powerful films in recent memory. There is such raw energy that it involves us from the start. "Manito" uses a hand held camera technique that gives the viewer an intimate interaction with all the characters presented in the movie. The rhythm never stops throughout the film and at the end we don't want it to end, but wisely, Mr. Eason has given the movie the right length in this satisfying look at real people, something not to be found on a Hollywood make-believe film.

"Manito" presents a situation about two brothers, Junior and Manny, who are as different from one another as day and night. Junior is quick tempered, has a violent nature, and Manny, is a young man that is mature beyond his years. Both brothers love one another dearly. Their environment will interfere in their lives. In the span of only a few hours, violence makes an unwelcome appearance, as Manny is faced with a situation where he is given a gun in order to take justice in his own hands, with dire consequences. In turn, Junior, trying to help Manny and the uncertain future that awaits him in jail, decides to confront his own father who years ago had let him go to prison when he was innocently charged for what the old man had done.

The energy in the film is enhanced by the cast, most of them non professional actors. Franky G. makes Junior come alive. Leo Minaya plays the good brother Manny. Jessica Morales is perfect as the beautiful Marisol and Julissa Lopez is Miriam.

Technically, the film has a grainy look that cinematographer Didier Gertsch gave it. The musical score by Saundi Wilson plays well in the background. The direction of Eric Eason is what makes this film come alive. We are given a real life situation that is dealt with realism and conviction. You will not regret watching it.

This is the story of two brothers in a Latino area of a big city. The older brother has just been released from prison and is determined not to let his younger brother, Manny (the title is an affectionate nickname), follow the same path. Manny has excelled in school and is graduating from high school, but he is not home free yet.

The film takes place over 48 hours, and was filmed in 25 days in a gritty, documentary style. The actors were mostly new to film, which probably added to the realism. It's the performances that make this film, which won a Special Jury Prize for ensemble acting at Sundance. As is often the case, it's not an easy film to watch, but it's worth it. Seen at Cinequest (the San Jose, CA film festival) on 2/24/2002.

Here is a film (along with "City of God") that explores a violent world infested by drugs--and uses a cast of non-professional actors. Shot for much less money than the Brazilian masterpiece, Manito is something of a "minor masterpiece". I had heard that the images and editing are jarring. But I discovered it to be, on the contrary, a beautifully photographed film, the grain structure of which reminded me of 8mm Ecktachrome stocks from the 1960s...Furthermore, the camera choreography is a daring risk to mimick the exuberance of a passionate family in the throes of a tumultuous celebration that turns to tragedy. This is a style that could not be more perfectly suited to the material. The highest compliment one can say about these incredibly brutal yet beautiful images is that nothing like this has ever been seen before. "Manito" is better than virtually every other film made in America this year. That's not saying a whole hell of lot in year that has given us one bomb after the next. But "Manito" is a significant achievement.