Le gamin

It appears to be a trend in the cinema by presenting the "bear" gay subculture. We already saw it in John Waters' "Dirty Shame" in the summer, although it's not the main idea of that picture. Of course, the John Waters' movie has nothing to do with Luis Miguel Albaladejo's superior film where we are presented with the Spanish version of this sub group of the gay culture where overweight men, usually hairy and cuddly tend to get together in bars, or other places where they can feel comfortable with one another.

In a way, it's a refreshing way to watch a film like this one that deals with that type of individuals, as they are presented leading normal lives without any hangups or other moral problems. In fact, the dialog is quite explicit as the people in the movie are not ashamed of their sexual preference and even those that aren't gay, keep an open mind about what is going on with Pedro, the man at the center of the story.

We get to know Pedro and his circle of friends. They all are normal people and well adjusted. Pedro is a loving man facing the dilemma of being a role model for his nephew, who has come into his life quite suddenly and without warning. Bernardo, the young boy, is wiser for his years as we get to know him better. This youngster, while being curious about his uncle's love life, is never a brat, as he takes everything in stride.

The film is a lot of fun for those that will watch it with open eyes. They will be rewarded to a fun time with a touch of reality at the end.

BEAR CUB (CACHORRO) is a delight! This joyous film has the wisdom (and courage, if US standards are applied!) to open the doors and windows depicting a segment of the gay population who are healthy in attitude, in lasting relationships and friendships, and who don't swerve from addressing issues such as AIDS, single parenting, recreational dalliances, the dangers of drugs, and the importance of family. It is honest in dialogue, in casting, and in demonstrating that all people are subjected to the same ups and downs, no matter their sexual proclivity.

Pedro (José Luis García Pérez) is a successful dentist, a warmly human man who is surrounded by caring friends - primarily men who call themselves 'bears', a subunit of the gay population identified by hairy faces and bodies, stout husky physiques instead of the usual gay image of the perfectly carved gym body, and a live-and-let-live philosophy of upfront honesty, warmth and caring for their extended families. Pedro is openly gay, a fact that his widowed sister Violeta (Elvira Lindo) and her 9-year old son Bernardo (David Castillo) happily accept. When Violeta and her current paramour Borja (Cali Caballero) decide to vacation in India, Bernardo is left with Pedro for the promised two week stay.

During their time together Pedro and Bernardo bond, Bernardo is introduced to Pedro's friends and is entirely comfortable by the healthy relationships he sees. Pedro is not partnered (his lover Eduardo died...) but he dates openly with Bernardo's knowledge. When Pedro is in his Dental Office, baby sitter Lola (Diana Cerezo) introduces Bernardo to go-go and other parts of the world outside and becomes a happy trio with the two males. News comes that Violeta and Borja have been arrested in India for drug trafficking, changing the two-week vacation into a time indefinite absence. Pedro and Bernardo adjust.

Things take a turn when Bernardo's estranged grandmother Doña Teresa (Empar Ferrer) enters the scene, haughty, disapproving of Bernardo's living situation, and taking advantage of the absence of her hated daughter-in-law to attempt to gain custody of Bernardo, 'the only thing I have left in life.' Due to some unfortunate twists of behavior and fate, Doña Teresa gains evidence to blackmail Pedro, not only because of his sexual outings photographed by her investigator, but because she discovers Pedro is HIV positive. In her attempts to denounce Pedro we discover the Bernardo already knows of his uncle's HIV status (as well as Violeta's) and Bernardo pleads with Pedro not to let Doña Teresa take him away. A compromise is reached and Bernardo is sent off to a coed school in Valencia.

How all of these twists and turns resolve constitutes the surprising ending of this excellent film: each of the characters is shown to be wholly three-dimensional, even Doña Teresa, and the overriding importance of family and compassion and love rules the day. The ending is open ended, allowing the viewer to select the way to conclude the story.

Director and co-writer (with Salvador García Ruiz) Miguel Albaladejo is a master at finding the core of truth in each of his characters, their individual life styles, and the unfettered joy of living uncompromised lives. The cast is extraordinary: José Luis García Pérez is a natural actor, David Castillo is completely believable as Bernardo, and the remainder of the cast is outstanding. The original music by Nacho Canut and Olvido Gara is so in keeping with the tone of the film. Yes, there are some consensual sex scenes in this film, but they are treated with respect and decorum and without them the flavor of the film would be lacking. This is a refreshing film about the sanctity of love - and it just happens to be populated with one of the most lovable gay groups ever created! Highly recommended.

Grady Harp

It is good to see a movie neither 'demonize' nor 'victimize' gay people. This is an extraordinary movie about everyday relationships of ordinary person , some of whom happen to be bears.

The characters in this film are flawed one way or another. But that's part of the charm: they all have their own problems like everyone else of us have and they are dealing with these problems like we all have to. Unlike many 'gay-themed' movies which focused on 'shock value', this movie is free from bitter or self-pity. It goes back to the basic friendship and family connection which is so brilliantly portrayed.

I adore the bubbly attitude the movie holds. When bad things happened,drugs, jail, disease, people in this movie just deal with the bad fortune the simplest way. no mess, no fuss.

It's clean and shinny , it's a breathe of fresh air from Europe.

This is a great little movie. I was pleasantly surprised that it avoided falling into predictability and that it kept the characters, including the prudish grandmother, three-dimensional. In some ways, her character is the most interesting--like Violeta and Pedro, we want to hate her, but ultimately she turns out to be neither truly "evil" nor fully irredeemable--but nothing in the plot forces us to come around to liking her, either. I appreciated the fact that the movie's gay characters are bears, and that this is largely unremarkable.

Other reviewers commented on the frank sex scenes. These appear to have been cut from the movie in commercial release--and the cuts were especially noticeable and choppy. They rendered at least a couple of scenes pointless. There is a little bit of irony in sitting in a theatre near the West Village, in an audience that was probably 90% gay men, watching a movie that focuses on a (very) sexually active gay man, yet finding myself "protected" from witnessing the movie's sex scenes.

For instance, the opening scene, which I understand from reading reviews and comments is fairly explicit, simply opens with three men in bed together, and Pedro telling the other two to hurry up because family is coming. The bathhouse scene shows Pedro and another man walking off together, and then a very choppy edit finds us at the next scene. We do see some kissing and fully-clothed groping, and Pedro and his friend from Paris rolling around in bed and later waking up and cuddling. I don't have a particular need to see erect penises (at least, not in movies), but I have no idea what else I might have missed with the editing out of these scenes. And, of course, more to the point, these are (or were) part of the movie, whether they make some people uncomfortable or not.

I don't know--perhaps these cuts may have been a necessary compromise to put the film in commercial release, but it still sucks (so to speak). I guess I'll have to wait for the release of the DVD to see the film in unexpurgated form. (And maybe it'll include some cool outtakes, too?--no, just kidding).

"Bear Cub" (Cachorro) has been shown at several film festivals since it was first released in its native Spain in early 2004. I saw the movie on Opening Night at the ImageOut Film Festival in Rochester, NY. The near-capacity crowd was very receptive to the film.

The story, about a gay man who finds himself taking care of his young nephew for an unexpectedly extended period, has been done before in different variations ("About a Boy", "Three Men and a Baby", television's Bachelor Father, etc.). Compared with other movies, "Bear Cub" stands out by not compromising the depiction of the main character's social life especially with the explicit and what will be a very controversial opening sequence. (Note: the opening scenes and a few other scenes were edited for general release in the U.S. I saw the unedited version at the film festival I attended.)

I'm happy of the decision by co-writer/director Miguel Abaladejo (with co-writer Salvador García Ruiz) to present to the moviegoers a subculture of the gay population called Bears. It might open a few people's minds. Pedro, the lead character (well-played by José Luis García Pérez) and his circle of friends do not fit the dominant depiction of what gay men look like especially in movies: bearded and husky.

Another thing that impressed me was the performance of David Castillo. He plays Bernardo, the precocious nephew who is mature way beyond his years but, in one of the many plot twists that propel the film, there are reasons why he is that way.

I almost forgot to mention how funny and touching this film is. Bear Cub is a very well-balanced dramedy. The comedy comes out of the unusual familial situation and when complications arise in the guise of Bernardo's estranged paternal grandmother Doña Teresa (Empar Ferrer), it made for a very compelling drama.

The decision to change the aspect of the movie from just observing the characters to having some of the characters talk to the camera in the final 20 minutes was not a good idea. Despite that flaw, I found Bear Cub to be a timely, well-performed and memorable film.

P.S.: I would bet a few dollars that a production company in Hollywood would be too cowardly to remake a film like this much less buy the rights to make the movie. The movie's honest depiction of a man having a social gay life without making value judgments might be too much for some viewers or, for that matter, some members of the Hollywood community to tolerate.