Biutiful
Biutiful. (c) 2009 Menage Atroz S. de R.L. de C.V., Mod Producciones, S.L. and Ikiru Films S. L. All Rights Reserved.
“Mesmerising and deeply moving. Its poetry lingers for days afterwards”.
Javier Bardem wowed mainstream audiences with his formidable presence as the cold-as-steel killer in the Coen brothers’ No Country For Old Men. Prior to that, he impressed arthouse film audiences with performance in Before Night Falls.
Admirers of his work would be forgiven for abandoning him altogether, following his flirtation with Hollywood after No Country For Old Men in Vicki Cristina Barcelona, and Eat Pray Love. He seemed unconvincing in both. Similarly, he seemed to be appallingly miscast and (yet again) unconvincing and somewhat fey as Florentino Ariza in Mike Newell’s adaptation of Gabriel Garcia Marquez’s stunning novel, Love In A Time Of Cholera. (Curiously, Benjamin Bratt was cast as Dr. Urbino: it seemed that Bardem and Bratt really should have swapped roles).
After a string of performances that didn’t quite live up to expectations, one was left wondering if Bardem could convincingly portray a romantic lead, or be suitably cast in a role in which he portrayed a husband, or some other lover of women.
Biutiful marks the return of Bardem to both a worthy project, and a convincing romantic role: though it should be emphasised that his role in Biutiful is not a romantic lead, and that this film succeeds not only because of Bardem’s outstanding performance, but also because of the strength of the entire cast, and Iñárritu’s masterful direction.
Bardem plays the part of Uxbal, a man who has carved out a meagre living through shady dealings, such as an ancillary involvement in smuggling illegal migrants from China, to work in factories in Spain.
He is the primary carer for his young children, but is still connected, albeit reluctantly, with their mother - his ex-wife, Marambra: a volatile and deeply troubled woman who has resorted to prostitution out of the need not only to support herself, but to remain desired and vital.
Uxbal also earns money by communicating with newly-deceased people: conveying messages to the loved ones who have survived them. At first, this seems yet another of Uxbal’s exploitative acts, but we discover that he may, indeed, have some sort of heightened spiritual awareness.
Life for Uxbal is a juggling act, but not unmanageable. Until he discovers that he is going to die. This revelation is not a plot spoiler: it is well-known, unfolds early on, and provides the basis for the rest of the story.
Can he reunite with his children’s mother in time for her to be able to care for them when he’s gone? Can he redeem the many wrongs he’s committed?
Iñárritu treaded carefully with his cast, by creating a collegial atmosphere behind the scenes, and by conducting workshops with Bardem and his child co-stars. The scenes in which the children appear are moving and realistic. His direction is subtle and gently paced, providing a submersive experience in the lives, not only of Uxbal, but of his ex-wife, his business associates, and the illegal immigrants whom he exploits (the sub-plots are as captivating as the central story).
At 142 minutes, this may seem like a long film, and certainly requires a settled mindset to watch it: but it is utterly mesmerising and deeply moving. Its poetry lingers for days afterwards.