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DIRECTED BY: Eliseo Subiela
FEATURING: Darío Grandinetti, Sandra Ballesteros, Nacha Guevara, André Mélançon, Jean Pierre Reguerraz
PLOT: Poet Oliverio meanders through life, verbally jousting with the angel of death while searching for the perfect woman, whom he may have found in a practical-minded prostitute.
COMMENTS: Oliverio has a standard pickup line, one he busts out for women at the bar and women he’s already lured into the sack alike: he can take or leave any woman, regardless of their physical attributes, but the only one who really interests him is the one who can fly. He’s quite serious about it, and we even see the fate of those who come up short in that regard: a plummet into the abyss via a trapdoor built into his bed.
Suffice to say, this live-action Tinder line isn’t paying off the way he’d like, although it’s hard to pity Oli for his disappointing romantic escapades. He would seem to be living the dream version of a poet’s life, generating product at the drop of a hat and able to turn his words into income whenever the need arises. He wanders the streets reciting poems to commuters stuck in traffic, who readily hand over their cash. He pays for thick steaks at a street café with romantic odes, which the cook promptly uses to win a wife. And of course, he can lure any woman into his sheets, even though they all disappoint him in the end. How on earth is the poor bastard going to get out of this pickle?
Of course, Oli’s profession is carefully chosen, because this poet’s tale is being told poetically. We shouldn’t question how he manages to survive from day to day, because this is the story of his crisis of the soul. The fact that his late mother speaks to him in the form of a cow, or that he trades barbs with Death herself (who is trying to find him a steady job in the classifieds), is only literal in the metaphorical sense. It’s not fantasy or even magical realism. This is a poet’s view of the world, where feelings are made manifest because they’re just that strong.
It’s a credit to Subiela’s direction and Grandinetti’s deft performance that this doesn’t come across as highly obnoxious. Oli is arrogant, to be sure, but he’s a perfectionist whose dedication to poetic ideals results in a high standard for happiness. He can throw away his art on commissions for which he has no passion, but his commitment to himself is absolute. This makes him the perfect foil for Ana, the sex worker from Montevideo for whom he falls. With pain in her past and responsibilities in her present, she draws a very clear line between love and sex. The movie’s focus on Oli shortchanges her point of view somewhat, but their chemistry is so strong that we feel her influence on him even when she’s not onscreen. It’s a peculiar sort of charm where the boy treats other women better as a result of not getting the girl (played out in a genuinely enchanting scene where he romances a blind woman and makes the extraordinary decision not to give her the Wile E. Coyote treatment at the end).
El Lado Oscuro del Corazón demands a certain tolerance because of the way its fantastical notions are presented in such a grounded manner, and it sometimes thinks that the main character himself is more interesting than his idealistic pursuits. When it gets the mix right, though, it earns its magic, which is probably why it’s the rare surrealistic meditation on love to merit a sequel. Not everyone loves poetry, but when you hear the right poem, you’re likely to want another.
WHAT THE CRITICS SAY:
(This movie was nominated for review by Dreamer, who explains that the film “is weird because of its particular way of being poetic and to some extent poetic because it is weird.” Suggest a weird movie of your own here.)
