STRAWBERRY AND CHOCOLATE
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 7.0
U.S. Availability: 2/95 limited release Running Length: 1:45 MPAA Classification: R (Nudity, sex, mature themes, language)
Starring: Jorge Perugorria, Vladimir Cruz, Mirta Ibarra, Francisco Gatorno, Marilyn Solaya Directors: Tomas Gutierrez Alea and Juan Carlos Tabio Producer: Miguel Mendoza Screenplay: Senel Paz based on "The Wolf, the Forest, and the New Man" Cinematography: Mario Garcia Joya Released by Miramax Films In Spanish with subtitles
On the surface, it might seem odd to compare STRAWBERRY AND CHOCOLATE, Cuba's official 1995 Foreign Film Academy Award entry, with BOYS ON THE SIDE. Indeed, obvious similarities are few, but scratch the surface a little, and it becomes apparent that both movies share a common strength--the complex and well-developed friendship between a gay and straight person. And, as was the case with Whoopi Goldberg and Mary- Louise Parker in BOYS, the acting is the key. Here, Jorge Perugorria (as the homosexual Diego) and Vladimir Cruz (as the heterosexual David) bring life and vitality to a pair of personalities sketched out on paper.
Diego and David are very different sorts of people--and perhaps that's what attracts them to each other. Diego, a twenty-something writer with a passion for art, has an anti-Castro track record. David, still in college and smarting from his girlfriend's rejection, studies political science and places the Communist way above all else. The relationship between the two begins steeped in lies (Diego has made a bet that he can bed David; David is attempting to gather evidence proving Diego's counterrevolutionary leanings), but over time it grows into something genuine and substantial.
Several tangential characters fade in and out of STRAWBERRY AND CHOCOLATE, occasionally intersecting the main story, but rarely having much impact. Subplots featuring David's ex-girlfriend (Marilyn Solaya) and a deeply religious whore named Nancy (Mirta Ibarra) are neither especially interesting nor invigorating. Relying on overused story elements, these parts of the movie present a marked contrast to the thoughtful, insightful depiction of Diego and David's friendship.
STRAWBERRY AND CHOCOLATE is not the first movie to examine the often-contradictory concepts of art and propaganda, but the balanced perspective presented here impregnates the issue with freshness. One might not normally expect an open perspective on social and cultural issues to find expression in a film backed by a restrictive government, but STRAWBERRY AND CHOCOLATE received not only official sanctioning, but financing as well.
STRAWBERRY AND CHOCOLATE is ultimately a film of many layers, and the viewer who invests more into watching the picture will get more out. While the movie might superficially seem to be a comedy, it is most effective during the quietly dramatic moments. The obvious fulcrum--Diego and David's relationship--is as complex and antithetical as the film's overall tone. Mentor and pupil, with different ideologies, the two need more from each other than either initially guesses at.
With a different cast or a more heavy-handed director, STRAWBERRY AND CHOCOLATE could have been a pretentious melodrama. Filmed with skill and precision, however, the actual result is an engaging--although not totally engrossing--examination of the culture and values of 1979 Cuba--issues that are surprisingly timely and universal. You don't have to be a resident of Havana to understand STRAWBERRY AND CHOCOLATE's messages, or to appreciate the two characters it serves alongside its ice cream.
- James Berardinelli (jberardinell@delphi.com)
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