Viewers of this Oscar-winning
Argentinean film are likely to enjoy the experience for varied reasons. It is definitely
an engaging thriller with loads of subtle humor. It is therefore not surprising that the film
was a commercial and critical success in the country of its origin, Argentina. The best foreign film Oscar, the second for Argentina over the years, bestowed on the film would
have boosted its popularity at home even further. However, the film can be
enjoyed by non-Argentinean audiences as well for several additional elements beyond the obvious thrilling tale
the film unfolds.
The film is at a basic level
a detective story of tracking down a rapist and killer and ensuring that he
gets a fitting punishment for the crime. At a more complex level, it is a tale of
love of two sets of couples and a strong camaraderie of two detective
colleagues. And finally, the screenplay captures the mood of Argentina’s “dirty
war” period from 1976 to 1983 (during which tale is set) when criminals held
sway and at least 15000 social activists ‘disappeared’ and often social status provided a sense of security for a privileged few (such as the Cornell-educated
Hastings in the movie) when compared to lesser mortals (such as the investigating officer Benjamin
Esposito in the movie). The indirect connection to the "dirty war" is established briefly with the TV news item watched by three pivotal characters in the movie that shows Isabel Peron morphed with the rapist/killer as her bodyguard/security staff.
The remarkable screenplay of
the film, an adaptation of a book written by Eduardo Sacheri, is by both the author
Sacheri and the film’s Argentinean director Juan José Campanella. The
screenplay uses the power of cinema to elevate the tale of the book to an even more sophisticated level.
Campanella, for those
unfamiliar with his work, is an engaging and creative screenplay writer. For
instance, Campanella’s 2001 film The Son
of the Bride, another delightful Argentinean film that made the final
nominee list for the best foreign film Oscar that year, had the lead character
muttering away that he is “no Albert Einstein, a Bill Gates or a Dick Watson”
making all viewers wonder who on earth was this Dick Watson. At the end of the
film, when the end-credits are rolling, the movie humorously reveals that this
mysterious Dick Watson is a character from a pornographic film. Campanella
carries forward his unusual penchant for juggling non-chronologically images and incidents in The Secret in Their Eyes that add to a
diligent viewer’s entertainment. For
instance, the movie begins with shots of Judge Hasting’s and Investigator Esposito’s
eyes and shots of the railway station in Buenos Aires which are only fleshed out much later halfway into the movie. Campanella is apparently reinforcing two important strands
that continue throughout the duration of The Secret in Their Eyes: the importance of eyes so pivotal in the film and the development of the plot; and the importance of railway stations as a key location
for both the two parallel love stories and the detective story in the film. And
both deal with memories, something the script reminds us is “all that we end up with.”
Campanella and Sacheri had
devised a cute devise to capture the mood of Argentina to be weaved into the
film. Judge Hastings (Soledad Villamil) hands Investigator Benjamin Esposito (Ricardo
Darin) a typewriter which cannot type the alphabet “A”. Much later in the film the
retired investigator Esposito, while writing a book on the case is shown waking
up from a disturbed sleep and scribbling the word TEMO
(‘I fear’). He knows and is afraid that he could be knocked off by
the killer-cum-rapist who is out on the loose and is seeking revenge for being
briefly arrested by him. Towards the end of the
film, Esposito adds the alphabet “A” to TEMO
to transform the scribble to TEAMO (‘I
love you’). Campanella and Sacheri again prove
the importance of a script that appears initially disconnected but is all tied up eventually.
Temo to Teamo: From 'Fear' to 'Love', with an alphabet added |
Similarly, throughout the
film Judge Hastings wonders if she ought to close the door of her office. The viewer would assume that it had something
to do with the latent love affair between Hastings and Esposito that Hastings
did not want her office staff to hear. But is it only that? It was a time when everybody
seemed to be snooping on each other and the closing of doors became imperative for
all important discussions. Take the sequence when Esposito and his dear colleague
go snooping into a house of the suspect’s mother. The streets are empty. Yet
there were people taking note of the car,its registration number, and what they were up to. The tale is set
in a period when everyone was snooping on each other in Argentina.
And later on, Esposito’s rival
colleague berates Esposito in front of Hastings that he is a nobody on the social
ladder, minutes before the spine chilling encounter in the lift with the rapist-cum-killer loading his gun to send a message to both Esposito and Hastings. It is a sign
of the terror most Argentinians had encountered, irrespective of their social status, during the 'dirty war' years.
The message of terror in Argentina during the Dirty War years |
Campanella is a delightful scriptwriter.
He has proved it time and again with two marvelous films: The Son of the Bride and The
Secret in Their Eyes. In both films, he was aided by the marvelous thespian
Ricardo Darin, who exudes magnetic charm in each role, film after film. And Campanella
has a magical touch with his actors
Darin and Ms. Villamil not just in The
Secret in Their Eyes but in an earlier work Same Love, Same Rain (1999). In all the three films, Campanella
shows that he can elicit great performances from all his actors and he has a magic
touch with script-writing. The viewers are not likely to forget the line “the gates of heaven have opened’’
muttered by the males time and again as they encounter any beautiful woman in The Secret in Their Eyes.
However, Sacheri and Campanella, through this film, have raised the issue of crime and punishment of rapist-killers worldwide. The punishment suggested by the filmmakers is thought-provoking. The contents of the film will make the viewer think about corruption and the consequences of lenient punishments accorded to such criminals.
However, Sacheri and Campanella, through this film, have raised the issue of crime and punishment of rapist-killers worldwide. The punishment suggested by the filmmakers is thought-provoking. The contents of the film will make the viewer think about corruption and the consequences of lenient punishments accorded to such criminals.
But is Campanella the director, the best filmmaker
to come out of Argentina in recent years? This critic considers the late Fabián
Bielinsky, who made just two feature films The
Aura (2005) and Nine Queens (2000) (both with
Ricardo Darin in the lead roles), before he passed away prematurely in 2006 to
be head and shoulders above Campanella as a director. The two Bielinsky films had a maturity
that should make Argentinean cinema proud of raising the bar of quality though
it is Campanella, who eventually brought home the Oscar statuette.
P.S. The late Fabián
Bielinsky’s The Aura was reviewed earlier on this blog.
1 comment :
After reading your review, I was compelled to watch the movie again (after a gap of three years). It's not that I couldn't appreciate the movie the first time around but your review convinced me that "there is more to the movie than meets the eyes". And my second viewing has confirmed the same. In fact, your film analysis and the movie complement each other so well that one can't really appreciate one fully without the other. I congratulate you for the same. Many of your astute observations proved to be quite handy during my second viewing of this exceptional film. Btw, it may interest you that the stadium scene wherein the two detectives try to catch the accused is actually inspired by a scene in Akira Kurosawa's brilliant noir drama Nora Inu aka Stray Dog (1949) starring Toshirô Mifune and Takashi Shimura.
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