LOVING PABLO (2017) by Fernando Léon de Aranoa
“Silver or mess?”
For all those who think that this film is a highly sought-after attempt to get on the bandwagon of the “Narcos” series, it is fair to say that before its premiere in 2015, the tape project was already being gestated, since a few months before the bombing of the Netflix series, it had been announced that Javier Bardem and lady, Penélope Cruz, were going to star, directed by Fernando León de Aranoa.
But it is also true to say, that its filming began in 2016, so it costs horrors not to assume that the success of the series didn’t condition something in the development of “Loving Pablo” (2017).
I dont want to be bad, that for bad, they are already being the critics and the general reception of the film in the halls and festivals. But this movie crashes alone, and neither the recurring villain of Hollywood, Javier Bardem nor his wife, the recurring Spanish, manage to save her.
And it is that as much as it could attract the initial morbid of seeing them together on stage, as it happened with Tom Cruise and Nicole Kidman in “Eyes wide shut” (1999); I must say that neither are Tom and Nicole, nor have Kubrick behind, nor is it a good movie and I assure you that one potato and one sock have more chemistry than the two of them together.
The great claim, which managed to distance itself a bit from the wake of “Narcos”, was that the approach of the plot was all through the perspective of the journalist Virginia Vallejo, who was for years the lover of Escobar. This fact suggested that perhaps a more intimate and close vision of the character of Pablo Escobar could be given, but the problem is that Aranoa has tried to put in two hours and five minutes the whole story of Escobar’s coming to power, the actions he had to carry out to stay on top and all the mistakes he made that led to his death. And that, Mr. Director is trying to cover too much.
And so the film has come out, a story packed, that never gets to take off completely and instead of giving another different and personal vision of history as it seemed, it seems a compilation of the great successes of the trafficker, put under pressure and that tells us again a story that we already knew and that we have seen enough time ago to remember it and that nothing interests us or surprise us.
Do we already talk about what everyone points out as the worst of the worst in the film? The great nonsense of “Loving Pablo” (2017)?
To me that someone explain to me that they had to give the director, so that he agreed to shoot a film of Colombians, in Colombia, in the eighties and nineties, all in English, but with a Colombian accent. Well I hope that a garden-sized trash bag full of bills, a dinosaur egg and the original R2D2 robot from 1977 to put it in the hall of your house. If not, I can’t understand it.
Do you know how ridiculous it is to see two Colombians from some lost place in Medellin, who will not know or write the name of their town, talk to each other in an English of CCC academy, totally phonetic and super false? Well, two hours…
But hey! That when they have to insult, they do it in Spanish, that insulting in Colombian is super fashionable. Anyway, everything is so that the “Yankees” do not have to read subtitles, they do not like anything and if there are any, they do not go to the movies and then what happens happens.
And what do you say about the poor Javier and Pe? Two years speaking in Colombian at home to perfect the accent, so that later the film arrives in Spain and be dubbing their voices by actors who don’t even try to put the accent “paisa”.
In short, “Loving Pablo” (2017) is also a nonsense, a monotonous movie, a story that almost everyone knows, trying to cover too much and end up losing almost everything, I would not qualify as bad, but yes as a telefilm. Completely unnecessary, dispensable and devoid of all attractiveness.
Maybe for someone who has stay away from the whole universe of “Narcos” may be interesting, but nothing more.
Traducido por: Eduardo Llorente.
Our rating: (2/5)