Obra Maestra.
135 Mins. Starring: Yalitza Aparicio, Marina de Tavira & Fernando Grediaga. Director: Alfonso Cuarón.
Classic, compelling cinema by the canvas. 'Roma' is moviemaking art in every frame. From the soapy suds of a scrubbed and bucket watered down drive, whose drenched, glistening flags reflect a jumbo jet flying away to a whole new destination above. To the final call back closing scene, looking up to those same rooftops as the name 'Roma' comes into traditional credits over the next, great iconic, black and white movie in a homage to the artistry we had before technicolor. From the Polish Oscar winning 'Ida' to, well of course the silent classic of 'The Artist' that made Academy noise, almost over a decade ago. A hallmark throwback to the past that like this still feels fresher than most films in this Rotten Tomatoes age today going social media splat. And this decadent direction from the gravitas of 'Gravity' Oscar winning director Alfonso Cuarón (who went out of this world with more than 'Bird Box' star Sandra Bullock and all the way back down to earth) stuns the senses in noir that looks like it could have been made in the same seventies it is set in. Set to break records tieing Oscar favourite 'The Favourite' for most Academy Award nominations this year and the world changing 'Crouching Tiger, Hidden Dragon' for most noms all-time for an international movie in Hollywood history. Roaming the Academy this February, 'Roma' is so good it could do the double as both 'Best Foreign Language Film' and 'Best Picture, for this classic of contemporary cinematography. And it deserves it like the 'Best Actress' and 'Best Supporting Actress' nods to an international legend and a new star making her definitive 'introducing' debut. More than holding there own and maybe hopefully the trophy in categories featuring Lady Gaga, Glenn Close, 'If Beale Street Could Talk's' Regina King (finally getting her just due) and favourites Olivia Colman, Emma Stone and Rachel Weisz. Wiser since the weary, maybe this is finally the year the Oscars are so right.
Semi-autobiographical in its tone and based on 'Harry Potter-Prisoner Of Azkaban' director Cuarón's upbringing. Serving as a tribute to the woman that took care and helped raise him, Yalitza Aparicio's amazing adaptation of a character is more than a family housekeeper. And don't you dare look down on her and call her a servant like some here. Even if she serves her role as dutifully and respectfully as possible here. She's more than that in 'Roma'. She's part of the family. And now more than a fraternity with this 'Best Picture', she's part of the Academy too. Win or not. She's already claimed victory with a rookie debut in this acting game showing she's just as capable as this craft as a seasoned vet. Much like the one she's supported by. And with her silent but soulful stance amplifying ever emotion to those who know the beating heart of this piece gives us every bit of hers. And if you can't see through that translation when words aren't even needed than you truly will be feeling lost. But alas, don't worry only those not fully engaged will be. Because this isn't one just for cinephiles, but everyone who feels the longing pulse of love and family to the end of what's taking your hand. This won't be the first and last time Yalitza works in this industry. Soon she'll have a filmography as formidable as the supporting actress she in turn supports on-screen in Marina de Tavira. The 'Side Effects' and 'Love, Pain And Vice Versa' actress who shows all of that in an emotionally widowed wife whose missing husband (Fernando Grediaga, great, but not so in character) is off philandering without shame like it was philanthropy, whilst she is left to pick up the broken pieces like a dropped and discarded vase left to be dust pan and brush swept up. With an adorable (especially one son in particular who tells the memories of living a last life) family who adore a man she constantly has to take up for in story and duty, Tavira traverses all these pieces poignantly and powerfully as more than a woman scorned, but world warned. As she soberingly reveals after a few drinks about how all women are alone, no matter what they tell you. Getting her own back and way as she stumbles out of a classic Ford car in a film choked full of those gasoline guzzling sixties classic 'Bullitt' biting automobiles that she scratches against the walls of a drive her husband used to maneuver in with a surgeons precision parking to effect of, if only he treated his family with that much care and consideration. But boy does Marina de Tavira stand on her own two and proud like everyone does in this world fed up of being thought of as being victim to the trampling on of white male privilege. I love the Godfather of soul. But James Brown was wrong. It's always been a woman's world. Even to the men who think there's be nothing without them themselves.
Theatres have never seen anything like this. But cinematic God's willing they will do. Like we all should under the down lights of cinema in all its black and white beauty to truly appreciate this big-screen wonder. Although it still translates on any medium. Like the writer watching it on the same phone he drops on his face in his bedroom at night (blame my age and the fact that as soon as my head hits the pillow I'm gone), to watch it again, awaking mid-morning to be fully engaged (always do the following morning what you failed to do the night before). And forget the excuses of a weary workload and so many outstanding Oscar films coming out of nowhere this New Year, I should have watched this by now. And if you haven't so should you. Because after years and Idris Elba 'Beasts Of No Nation' years (it's almost been half a decade of prolific prominence), Netflix finally have an Oscar contender (did voters not see the magnificent 'Mudbound'?) that could win it. And so it should even if there is still something so special about the magic of cinema that I was reminded about from a friend I went to watch Clint Eastwood's new picture with recently. But still despite that time honoured films for Friday's (no plug, just a homage) tradition whatever way you can tell a story or see one in this smartphone distracted age is a necessity. If everyones heads are down, at least it should be because they are watching something worthy of taking their time. But this film brought by streaming service monolith Netflix (complete with an opening, but this time black and white and with no signature sound, Netflix icon I.D. intro) after a brief but becoming cinematic run is available for 137 million worldwide subscribers (and the people latching on to their accounts. So times that by four. Hey, I used to be guilty but now my own account is playing Robin Hood) to watch whenever they like. But forget 'You' or those 'Making Of' criminal or whatever series' are binging everyone's cracked screens at the moment, the time is now to watch a heralded classic of moviemaking, hiding in plain sight under your nose. Timely in more ways than one and done it's even back in cinemas for a limited Oscar consideration run. Apart from some petty outlets refusing to screen a Netflix movie which contrary to the magic of cinema feeling that these theatres seem to be now treating with misguided hypocrisy. An idea that in this age of storytelling sharing seems as ignorant as those switching off from a movie because they can't be bothered reading the subtitles. But in a year where Netflix like Marvel's superheros get their first big, 'Best' Oscar nomination where the Academy are no longer "so white" (although the 'Crazy Rich Asian' snub is exactly that...crazy!), maybe all this can be put to just deserves right. Because this look into the life of family with Mexican history (one terrifying riot scene by the Los Halcones gang, viewed from uptop a furniture store in one-shot trademark by the director who was known for this technique before it was a go to trend (from his iconic, shotgun riding, surprise early death stroke in 'Children Of Men'. To his globe rotating ones by satellite in the groundbreaking 'Gravity'), leads to a gut-wrenching, heart excruciating, water-breaking pregnancy) as a backdrop on the rooftop of many like this central character hanging out the laundry sheets to air and dry is necessary to see for the one woman and director that represents them all and in humanity turn the wider world now finally watching. To reveal anything more in this heart searing and soaring, breakthrough picture would be to spoil the joy and pain that will be evoked as you're senses feel their way through this touching picture that gives you a taste of life outside those so called United States. All the way down to its wet sand, beach beautiful, subtle moment of iconography by the tide of the sea. In a time where world leaders (who shall not be given publicity coverage here named) are wanting to put up walls to people just like us. People like this in this independent, cultural touchstone are giving everything they've got to knock all those border barriers of prejudice down. TIM DAVID HARVEY.
Further Filming: 'Gravity', 'A Better Life', 'Ida'.
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