desertsophist
I have traveled some of the world including places like Bangkok, Thailand and Manila, Philippines where I have seen people of all ages and walks of life struggling to understand their sexuality and how they fit into this turbulent judgmental world. Although I respectfully agree with the summary of the film and the interesting and good review by Mr. Torchia as he gives us a compare and contrast of times past to the present story presented in this film, (Thank you Mr. Torchia) I also feel that overall the film strives to cover a lot of territory and complexities of the various characters and their identities as best it can. I would have been grateful to have been able to know more about each of the characters and how they came to be where they are in life but in film making cost and time limit that possibility all to often. I will say this, I very much enjoyed this film (and had a good cry) and could not only relate to Jesus and his struggle but also that of Mamma whose character I feel brought much value to the film as a story as she/he tried to help Jesus navigate his identity development and is telling of the trials transgender and other alternate individuals must deal with daily in a often non accepting straight world. A great film overall and deserving I feel of a top score.
Edgar Soberon Torchia
In the 1970s, when I lived in Old San Juan (Puerto Rico), there was a black, round transvestite known as Lorena, who performed at the club "Cabaret," where he was a sensation for a couple of months with his hyper-dramatic interpretations of songs like Roberta Flack's "First Time Ever I Saw Your Face". He knelt on the stage, prayed, pleaded, even wept a bit, never losing his sense of humor, nor hiding the effect of detachment which, in general, good transvestite shows produce. Then, about three decades later, living in La Habana, I realized that the local homosexual subculture survived in a bubble, with patterns of social behavior (ranging from partying to couple interaction) that referred me to times gone by, as a recycling of the 1950s at the close of the 20th century. These manifestations, as well as the bitchiness in relations, have, of course, not died on or off the island, and they persist along with the "urbanity" of the "gay" community (more selective and classist), but I found they were almost the rule in Cuba. These two memories combined in my head, when the Irish film "Viva" ended and Héctor Medina as Jesus, the hairdresser who chooses to be a transvestite, became a kind of La Lupe, crying, imploring, pulling curtains from the cabaret managed by Mama (Luis Alberto García), in a highly current story, if we only consider the homophobia that reigns in almost all contemporary societies and that is at the center of the movie. At the same time, in the script by Mark O'Halloran, the same man who wrote the remarkable "Garage" (2007), I perceived a certain "poofy fascination" with an old and decadent universe that cries out for renewal. If O'Halloran achieved a well-measured drama in the Irish countryside in "Garage," I think that in other people's territory he emphasized the exotic and lost in realism. Despite the attempt to truthfully show misery and the alternatives of a young man who, in the absence of the stage of a transvestite club, opts for prostitution, "Viva" is a syrupy portrait of the streets of Cuba (that "inner Havana," opposed to the better-off life of the privileged people of the island) and its dens (as opposed to the big, fancy cabarets with larger budgets). One can overlook the filmmakers' ecstasy with the old- fashioned spectacles of transvestites (by interpreters-actors who have always lived a marginal existence and suffered severe exploitation), but where "Viva" loses more effectiveness is in its melodramatic approach to the relationship between Jesus and his father (Jorge Perugorría), who suddenly breaks into the boy's life and opposes his purpose. There is enough material to incite tears and emotion, as in the best melodramas, with music that exaggerates the pain we already perceive in the good performances by Medina, Perugorría, García, Laura Alemán and Paula Alí. For that drama beyond moderation, "Viva" is enjoyed, but I suppose there must be followers of film aesthetics according to Bruce La Bruce, Larry Clark, Gaspar Noé and Gustavo Vinagre, who would have been grateful for something a bit more graphic in the approach to eroticism and violence that permeate "Viva".
ajrg-17-381639
I thought this was a very good movie. First it showed how homosexuals have their own community in Havana, free health care where the care is good and you have to bring your own food, what it is to be poor in Havana, what it is to turn male tricks on and on. The music was good and the performances of the drag queens too. The actors were good too.I did not understand why he let his train wreck of a father stay but someone who had no father when they were growing up said it was clear to him that any relationship was better than none. So I am going to have my son watch it. I am not sure why anyone would say it was run of the mill father son stuff as I found it unpredictable. Maybe they were unhappy that the end was not miserable.
Vira
Really nothing to recommend about this film. Another clichéd drag queen flick, this time set in Cuba, which implicates a particular flavor of overwrought shrieking and wailing by unappealingly masculine drag performers. Bleak settings, bleak lives, with a paint-by-the-numbers narrative, and unconvincing performances. This film even managed to make Hector Medina unattractive, which is something of an accomplishment. The longer the film went on, the worse it got. 1 star for a few good drag queen insults, 1 star for Hector Medina's potential. But this was almost unwatchable the first time, definitely not something I'd sit through twice.
