Today, local repertory groups stage monthly dinner shows in the original theater space from October to June. The Convention and Visitors Bureau is adjacent to the museum, so we pick up brochures and maps, including one for the Walking Heritage Tour, which leads us to the Colorado County Courthouse across the street. Hopkins collected more than 2, pieces of Santa memorabilia before her death in , and today, her treasures delight visitors year round. We stroll to the Turner-Chapman Gallery—a year-old building that once housed Fehrenkamp Grocery—and find artist Ken Turner chatting with visitors about balancing career and family.
The day ends quickly, and we hit the road. Finding the Cross Road Tavern in the dark is surprisingly easy; cars line the road and the aroma of fried catfish fills the air.
Famished, we fall into the buffet line and fill our plates with light, crispy catfish, crunchy coleslaw, and pinto beans. We collect two more carts and two more dogs and begin. Down the street we find Calico Hens, a gift shop housed in the Montgomery House. After adding to our purchases—my sister finds a set of ceramic roosters for her kitchen, and I pick up a wrought-iron planter—we drive out to Odd Fellows Rest Cemetery for the Live Oaks for Dead Folks Cemetery Tour.
2018 APS April Meeting: "Hello, Columbus"
We meet the creative team arriving in the mountains of Bolivia. Viewers will have no trouble identifying with these characters. Even in Spanish with English subtitles , they are our contemporaries, and we can recognize ourselves in them. He is beautiful though less so than in any of his earlier movies , sensitive, and idealistic. Costa Luis Tosar , the producer, is bald, manly, and hard-nosed: Costa wants to make a box-office success.
They are in Bolivia instead of on the shores of the Caribbean, where Columbus landed, because Costa wants to save money. In the mountains of Bolivia everything is negotiable. He can hire extras at two dollars a day and have them do manual labor as well.
They are casting for actors and extras. A helicopter with a huge wooden crucifix perilously dangling from it flies overhead—an homage to Fellini and the first scenes of his unforgettable films La Strada and La Dolce Vita , where the startling juxtaposition of helicopter and crucifix gives the sacred a profane context. In Even the Rain , the cross also fits the narrative: But Columbus-in-the-mountains is a preposterous setup for a film that wants to tell us the truth. They are superior beings entitled to use the natives.
And behind the fictional filmmakers are the actual producers in lockstep with their industry, which routinely takes advantage of the cheap labor of the third world.
Goodbye, Columbus (film) - Wikipedia
When the crew arrive at the open casting, they learn the incredible power of their money. A line of people stretches out to the horizon. The filmmakers try to send most of them home, but, led by Daniel Juan Carlos Aduviri , the Bolivians riot. Daniel is the third of the three men at the psychological heart of the film. Costa recognizes that this short, dark, hook-nosed firebrand is trouble, and the producer wants no part of him. As it turns out, both intuitions are right. Daniel becomes an essential part of the film, a perfect Hatuey who in real life is leading the popular revolt against the privatization scheme.
Thanks to Daniel, the cast and crew become entangled in the opposition. They see firsthand the terrible injustice of privatization—the cash-poor Quechua cannot afford the high and rising prices for water.
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When they try to use well water, security forces block their access. Guards push unarmed Quechua mothers aside in order to preserve the corporate monopoly on supply. The contemporary documentary moments in the film, like this uprising, are convincing and realistic; the cheap extras fill the screen.
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The few scenes in-costume for the film-within-a-film have a different directorial strategy. Yet these scenes—such as the simulated burning on the cross of Hatuey and twelve of his followers, selected at random by the Spaniards to represent the twelve apostles—are even more compelling than the more veridical ones. This is true of Daniel, the Quechua extras, and the Spanish actors, with their own conflicting feelings about their roles.
Most strikingly, it is true of the actor who plays Columbus: As the water revolt turns violent, it interrupts the making of the film. Will the filmmakers help the Quechua? If this sounds like too many narrative convolutions, rest assured that the editing and cinematography are so intelligent that every cut takes the audience into a deeper personal understanding. Whether intended or not, the scenes of the rescue have the feel of a wish-fulfilling dream sequence.
Costa becomes magically invulnerable to the violence around him as he pursues his errand of mercy. In some respects, the reality of the Cochabamba uprising is also diminished. That historic moment helped to catapult Evo Morales—an Aymara, like the Quechua, a native group—into the presidency of Bolivia on a platform of redistribution.
Nonetheless as Even the Rain unfolded, I found myself at home in its vision of political truth in a way I seldom have while watching films. The visual medium of film is so powerful that it almost always overstates. Political truths become propaganda even when one agrees with them.
But in the multiple intersecting and reflecting layers of Even the Rain , I experienced the complex mixture of truth-telling, self-interested posturing, and hypocrisy that serves those who reject certitude and accept doubt as the only human truth. You might have noticed the absence of paywalls at Boston Review. We are committed to staying free for all our readers.
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