Red Bear
posted to www.marxmail.org on March 31, 2003
What do you get when you insert the classic elements of a
"hood trying to go straight" story into the backdrop of Argentina's
economic collapse? The answer is "A Red Bear" ("Un Oso
Rojo"), a film that is far more engaging than the average neo-noir flick
out of Hollywood.
It evokes a thousand other movies, starting with Bogart's
"High Sierra". Based on the naturalistic insight (a style all but
forgotten in the world of fiction) that society casts an invisible web around
the human actor, most of all the ex-convict, "A Red Bear" deepens
this sense of hopelessness by being set in the bleak landscape of contemporary
Argentina.
When the "Bear" (Julio Chávez) is released from
prison, he discovers that his old neighborhood is even shabbier than when he
left it. Stores are boarded up and men hang out on street corners trying to bum
a few pesos for a beer.
As the Bear, veteran actor Chávez is as tense as a coiled
spring. With his prison tattoos, hulking frame, bullet-shaped head and heavily
scarred face, he looks like he can explode at any moment. In one of the opening
scenes, he pleads for a few pesos from what appears to be an Argentine version
of a yuppie. After contemptuously advising the Bear to get a job, the ex-con grabs him by the throat, forces him into his car and takes all his money, reducing him to tears.
But the Bear is content to work as a cab driver while making
an attempt to get to know the 8-year-old daughter Alicia (Elisabetta Rocchetti)
he left behind him when he was in prison. His ex-wife Natalia (Lina Bernardi)
is reluctant to let him back into their lives, especially since she has
remarried. It is not difficult to understand why she would keep him at arm's
length: he served time for killing a cop during a foiled robbery and would very
likely be capable of killing again.
Despite his ex-wife's reluctance to let him near, eventually
he begins to bond with his daughter in one poignant scene after another. When a
couple of cops pat him down without any provocation at a local playground, his
daughter looks on with a crushed expression on her face.
When the Bear learns that his ex-wife, his daughter and the
feckless man she lives with are about to be evicted from their meager bungalow,
he decides to take part in a stick-up. The robbery is organized by "The
Turk" (Freddy Flores ), a shady pool hall owner who has not yet paid the
Bear money still owed to him from the last heist.
When the gang storms into a warehouse with guns blazing in
pursuit of the payroll, Director Matteo Garrone crosscuts ironically to a
schoolyard celebration of Argentina's Independence Day. After the Bear's
daughter marches behind the blue national flag, the assembled student body
sings the national anthem:
Mortals! Hear the sacred cry;
Freedom! Freedom! Freedom!
Hear the noise of broken chains.
See noble Equality enthroned.
The United Provinces of the South
Have now displayed their worthy throne.
And the free peoples of the world reply;
We salute the great people of Argentina!
As the words are being sung, the Bear and his fellow
criminals are seen gunning down security guards and making off with the cash.
It is the most devastating irony I have seen in a film since the christening
scene in the Godfather that is crosscut with images of the Corleone gang taking
bloody vengeance on its rivals.
Afterwards, when the Bear delivers a satchel of cash to his
ex-wife's partner, he is told that they cannot take the money since it is
stolen. In a rejoinder that had many in the audience at the New Directors/New
Films chuckling, especially the Argentine contingent, the Bear replies:
"All money is stolen."