Tuesday, May 15, 2012

All That Jazz








Lima 1994
"Era la oportunidad de volvernos internacionales..."

Corría el mes de marzo, creo, cuando Jean Pierre Magnet, un conocido saxofonista limeño maldecido por el cielo con una pinta de artista de cine y un carácter alegre de un entusiasmo infeccioso, contactó conmigo para hacerme una propuesta deshonesta. Eran los días en que yo era Jefe de Redacción de Somos, la revista semanal que publicaba el diario El Comercio.

Jean Pierre estaba en plena producción de uno de los más grandes festivales de Jazz que hubieran tenido lugar en Perú hasta entonces. Entre los participantes se encontraba nada menos que Ray Barreto, toda una leyenda de la salsa y del jazz, y Dave Valentín, un flautista boricua que destacaba entre la nueva generación de jazzistas contemporáneos. ¿Cuál era la propuesta deshonesta? Jean Pierre me pedía la portada de la revista a cambio de arreglarme una entrevista con sus estrellas... ¡en el mismo Nueva York!

No era común entonces que los diarios peruanos enviaran corresponsales a los EE.UU. para entrevistas de la "farándula" como le dicen, en especial por los sempiternos problemas de visa que todos conocemos. Jean Pierre me prometía que su contacto en la Embajada yanqui me allanaría el camino hacía una visa de turista... que en esos días yo no tenía. Por supuesto que accedí. Para la revista, era una oportunidad inesperada de volvernos internacionales por derecho propio. Y para mí lo mismo pues sería mi primer viaje a los Estados Unidos.

Todo resultó mejor que lo planeado y, tal como dicen los que saben, en unos días pasé toda una vida en esta ciudad increíble.

Aquí incluyo el artículo que diagramó el enfant terrible del diseño de Somos y entrañable amigo Gonzalo Sarmiento. Sobre las fotos, sólo puedo añadir algo. Una vez estando en Times Square me jalonearon la cámara para robármela mientras yo, bien gracias, miraba embobado a un músico callejero. De no haber reaccionado a tiempo, las imágenes del artículo se hubieran perdido para siempre...

Tuesday, April 3, 2012

Libre...

Finalmente terminó este mal sueño... Me parece mentira haber caído en algo así a estas alturas. Sólo puedo felicitarme por haber dejado todo eso atrás y no haberle causado un daño permanente a mi autoestima. Pa'lante.

Saturday, March 10, 2012

Cruel, Cruel Moon

No sé qué piensen ustedes pero a mí me parece terriblemente injusto que la noche se ilumine con una hermosa luna llena --de esas que te provocan salir a respirar el mundo con la cabeza en las nubes y el corazón anhelante lleno de recuerdos y esperanzas-- justamente cuando las temperaturas están en punto de congelación. Ni a quién reclamar.

Saturday, June 25, 2011

Wednesday, February 23, 2011

Pusher (1996)


Nicholas Winding Refn was only 24 years old when he directed Pusher in his native Denmark, a fact that you would not even guess by the gritty look and the deliberate pace of this surprising film that is far from being needlessly violent and which is populated by believable and organic characters. Frank (a remarkable Kim Bodnia) is a drug dealer who is just trying to make money on the streets of Copenhagen. He has a girlfriend and a good friend who is also a business partner (amazingly portrayed by a very young Madds Mikkelsen, the unforgettable bad guy from Casino Royal, the 007 movie)  but he is far from connecting with anybody. Things get bad when a drug deal happened to be a police trap. Frank avoids prison but loses the drugs and consequently gets into heavy debt with his provider, an enigmatic guy from the former Yugoslavia who is surrounded by thugs who are as menacing as surprisingly human. The hunt starts to close in, of course, but Frank is more resourceful than what you might guess. However, the plot is far from being too important. What matters here is the atmosphere, the increasing sense of isolation surrounding the protagonist, the betrayals that he inflicts on others and the harvest of violence that he collects. This is a remarkable film, no doubt about it, and the amazing trajectory as a film director of Nicholas Refn is a solid testimony that Pusher was far from being a lucky shot.

Sunday, February 20, 2011

Animal Kingdom, 2010

You never know what’s going to happen next in Animal Kingdom, the 2010 Australian movie directed by Daniel Michôd. The narrative, the mere construction of the scenes, the acting and the plot itself are unsettling and challenging for the average spectator, since everything seems to disrupt not only the usual Hollywood formula but the inner mechanics the movie seems to adhere to. As a general rule, even the least appealing Aussie films tend to make acting the center of the movie experience. In this case, Joshua, the protagonist (merely called “J”) hardly seems to act. He is a shy, introverted underage teen who speaks in monosyllables and growls. When his mother dies of a drug overdose while sitting on her sofa and a paramedic comes to the house to examine her, he seems to be more concentrated on the TV contest show being broadcast than in the outcome of his mother's situation in the living room. Afterwards, he is forced to move in with his tough grandmother (an impressive acting lesson by Jackie Weaver) leader of a family that seems to live at the edge of the law, a sociological portrait that seems to be frightfully close to the truth. Living with them, J appears to be uninvolved or unconcerned by the criminal actions of his relatives —-an idea that the final scene destroys with a wrecking ball-— who are under close surveillance by the police. With the exception of the subdued role of Guy Pearce as a police officer, almost every character is painted with gray to dark overtones. Even grandma, who seemed to be a ragged but sweet mature woman disconnected from the aberrant behavior of her sons, shows no sign of mercy at her own grandson when she has to decide between him and her sons. But if the bad guys are not sympathetic, the police are not necessarily nice either. Interestingly, the violence is not unleashed by the bad guys but by the cold blooded killing of one of the family members by the police.
Here my final thoughts. Though you might blame the movie for lacking a much needed sense of humor, it overly compensates with scenes that are so well crafted that catch you completely off guard. It's like living in the wild, never suspecting what is happening next and each one defending his own as an extension of him or herself in the world. In this Animal Kingdom there is no place for pity or a sense of justice, you just do what you got to do.

Wednesday, October 20, 2010

My Review of Urgh! A Music War (DVD)

Originally submitted at WB Shop

It’s live and loud. It’s urgent and proud. It’s more than two-dozen young, energetic bands caught in the act and making the music and moments matter in hot, crowded, amped venues scattered across L.A., London, New York City and elsewhere. It’s big hair, little hair, guys, girlz – with music styles ...


Great video

By Jartell from Tuscaloosa, Alabama on 10/20/2010

 

4out of 5

Pros: Quality video image, Good sound

Describe Yourself: Movie Buff

I thinks that this is the first DVD release of this movie. I saw it years ago in theaters and for me it's been impossible to find a DVD since then. The Police looks great, Devo offers a great performance, UB40 is great, Gang of Four is unfortunately misrepresented with a not very hot song and a quizzical rendering of it, but fortunately, there are lots of other bands (maybe twenty something) that balance the film and make it a classic, a real synthesis of a whole generation of music. You may find all kind of genres and styles, ska, rock, punk, reggae, and some extra nut performers that who the hell knows who they are... but it's fun and, all and all, "Urgh! A Music War" is a classic. Highly recommended purchase, especially because there is no way to get it somewhere else (forget about Netflix). I just love it.

(legalese)