Viva – Film Review by Frank L.

Directed by Paddy Breathnach
Writer: Mark O’Halloran
Stars: Héctor Medina, Jorge Perugorría, Luis Alberto García

The action takes place in Havana, Cuba now. It is a money-too-tight-to-mention environment. There are few opportunities for anyone. Young Jesús (Héctor Medina), whose mother is dead and whose father is in jail having deserted them both when Jesús was three, is scratching an existence as a hairdresser. His primary customers are old ladies with less than magnificent manes. He lives in his parents’ apartment. Its heyday belongs to some distant past and it has few comforts. As a hairdresser, Jesús also looks after the wigs of Mama (Luis Alberto García) who runs a nightclub where transvestites strut their stuff. This is a world which Jesús begins to want to enter. In comparison to his humdrum existence, it is a world of self-expression and glamour which strikes a chord within him. He is captivated by the transformation which painting red gloss onto his lip makes. He takes the plunge and auditions.  His new career shakily begins.

Out of the blue his father, Ángel (Jorge Perugorría), an ex-boxer with a big drink problem, returns into his life.  Jesus and Ángel are physically and mentally the antithesis of each other.  Ángel, with his brute threatening force, effectively reclaims his former apartment by taking possession of the bed. Jesus has to make do with sleeping on an old sofa. Ángel’s world is still based on the boxing club where he was once a hero. Jesús’ world is centred on Mama’s club which Angel forbids him to frequent. He has loathing for the androgynous and transvestite world of Angel.  They are poles apart even if they must through economic necessity share the apartment.

Viva is the story of how Jesús and Ángel rub along together as best they can. However Jesús’ star is in the ascendant and Ángel’s is in the decline. They circle warily around each other as they attempt to find a modus vivendi.

Breathnach creates a revealing insight into Havana as it is today. It has suffered decades of structural neglect as a result of American sanctions. But the underlying architecture and grace of the city remains remarkably intact. Ángel says it is the “the most beautiful slum In the world” as he surveys the city from the rooftop. This dilapidated and shambolic environment complements the hand to mouth existence of Ángel and Jesús. The run down shabbiness, the make-do-and-mend culture of Havana mirrors the wary unease that lies between Ángel and Jesús. The proud, slum locale provides a  supportive environment in which Ángel and Jesús can deal with the fact that they are, whether they like it or not, father and son. That is the reality they cannot escape.

The central trio of Cuban actors Medina, García and Perugorría blend realistically as they confront each other. Each fits convincingly into the character which each portrays.  Medina and García strut their stuff on the nightclub stage with the passion that only men with Latin blood in their veins can conjure. Breathnach can be proud of bringing to vibrant life this heroic glimpse of Havana in all its threadbare magnificence.