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therefore he was able to keep a positive attitude. Desnoes ended up attending shooting sessions and making valuable suggestions. Desnoes commented that the film achieved a level of artistic success that the novel missed because Gutiérrez Alea “objectivized a world that was shapeless… and still abstract in the book” by adding “social density.” Desnoes appears himself as a panelist in a round table.
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bits of political information about the climate in Cuba at the time. In several instances, real-life documentary footage of protests and political events is incorporated into the film and played over Sergio's narration to expose the audience to the reality of the
Revolution. The timeframe of the film is somewhat ambiguous, but it appears to take place over a few months.
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Widely acclaimed as one of the best films of its nation and of its era in terms of bringing together art and politics, and described by John King as 'the most interesting exploration of the problem in any cultural medium'. Because many Cubans already had a revolutionary mentality by the time the film
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Another concern of Gutiérrez Alea's was that
Corrieri would seem too young for his part. At the time of shooting in 1968 Corrieri was 28, yet the character was intended to be 38. Gutiérrez Alea and Corrieri worked together to capture the "different rhythm" that Corrieri needed to take on to play the
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The film was poorly received by some critics because Sergio was an unconventional protagonist. The author of the novel, Edmundo
Desnoes, writes of Sergio in Cine Cubano, “that is the tragedy of Sergio. His irony, his intelligence, is a defense mechanism which prevents him from being involved in the
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Before the film's release, both the director, Tomás Gutiérrez Alea, and the main actor, Sergio
Corrieri, were concerned that the film wouldn't be successful. The film was largely inexpensive to produce, as it was made without many technological or economic resources, and as a result Gutiérrez Alea
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is a complex character study of alienation during the turmoil of social changes. The film is told in a highly subjective point of view through a fragmented narrative that resembles the way memories function. Throughout the film, Sergio narrates the action, and at times is used as a tool to present
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in 1977 that at a certain point the novel “was to be betrayed, negated and transformed into something else” for it to be successful as a film. Gutiérrez Alea also comments that the author, Desnoes, was fully conscious of the fact that his book would be changed as it was made into a movie, and
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was popular in the United States. Many
American critics were "suitably impressed by the film as a stylistic tour de force as well as a subtle and complex portrait of an uncommitted intellectual from a bourgeois background swept up in a vortex of revolutionary change and the threat of nuclear
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is one of the few cases in which the film is better than the novel, because usually the opposite is the case. Almost always the cinematic version of a novel comes up short, but here the film transcended the novel.” Gutiérrez Alea explains in an interview with
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Because of the political turmoil between the US and Cuba at the time, the US government denied Gutiérrez Alea a visitor's visa in 1970 when he attempted to enter the US to receive several awards he had won for
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Hanna, Sergio's long-lost love in the film, was intended to be a much larger character, but the actress that ended up being cast was not a professional, so the character's role was reduced.
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Sergio, a wealthy bourgeois aspiring writer, decides to stay in Cuba even though his wife and friends flee to Miami. Sergio looks back over the changes in Cuba, from the
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The film adaptation has generally been regarded as an improvement on the novel. In an interview in 1999, Sergio
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was in general much better understood and evaluated in the US because people perceived the attempt to criticize the bourgeois mentality."
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The film gathered several awards at international film festivals. It was elected the 144th best film of all time in the
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part of someone 10 years his senior in a number of ways, including by dyeing
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was released, it was regarded more as a representation of an outdated stream of thought.
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The apartment where Sergio lived was filmed in a thirty-fourth floor penthouse of the
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The film was selected for screening as part of the Cannes
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as justification. Sergio's apartment in the film was a penthouse in the
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country, and his relations with his girlfriends Elena and Hanna.
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Film
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feared that his vision wouldn’t translate to the screen.
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Falcon, Olga. Chapter IV, Page 301, Illustration 45
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Cinéaste, Vol. 8, No. 1 (Summer 1977), pp. 16-21, 58
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as Sergio Carmona Mendoyo, a bourgeois intellectual
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290:René de la Cruz as Elena's brother
278:as Elena, a teenaged girl fond of
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913:Films about the Cuban Revolution
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229:2012 poll. It was ranked by the
427:extinction at the time of the
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393:Adaptation from novel to film
903:1960s Spanish-language films
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518:"MEMORIAS DEL SUBDESARROLLO"
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311:as himself / panelist
305:as himself / panelist
216:Inconsolable Memories
64:Inconsolable Memories
898:Existentialist films
789:Tomás Gutiérrez Alea
752:Criterion Collection
668:Cannes Film Festival
604:Wood, David (2009).
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429:Cuban Missile Crisis
346:, the Cuban home of
287:Omar Valdés as Pablo
208:Tomás Gutiérrez Alea
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315:Gianni Toti
121:Leo Brouwer
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36:Directed by
888:1968 films
882:Categories
532:2019-06-05
486:References
329:as himself
204:drama film
165:97 minutes
149:1968-08-19
67:1965 novel
46:Written by
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417:Reception
214:entitled
109:Edited by
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674:21 April
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566:Archived
452:See also
439:Memories
405:Cineaste
399:Memories
296:as Laura
180:Language
117:Music by
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60:Based on
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183:Spanish
170:Country
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868:(1995)
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