Starring Zoe Saldana, Karla Sofia Gascon, Selena Gomez, and Edgar Ramerez
Directed by Jacques Audiard
Music by Clement Ducol; Lyrics by Camille
Let's celebrate Pride Month and Juneteenth this week with our weekday entries, starting with this controversial Oscar-winner. It's telling that this one came from what was apparently originally intended to be an opera. The themes here of Emilia's self-journey and its tragic conclusion, certainly reach the near-operatic in its intensity...but it also engendered equally intense backlash, due to its filming in France rather than Mexico, to its Mexican roots not being portrayed authentically, the treatment of its transgender lead, and several comments its lead actress made just after the film's release. Just how wild of a ride is this movie? Let's begin in Mexico City with struggling lawyer Rita Moro Castro (Saldana) and find out...
The Story: Castro receives an offer she can't refuse from drug cartel kingpin Juan Del Monte (Gascon), who wants her to find a doctor who will turn him into the woman he always secretly wanted to be. She searches Thailand and Tel Aviv, finally finding a doctor who is willing to help Del Monte undergo the surgery. His wife Jessi (Gomez) and their sons are relocated to Switzerland for their safety, and he pays Rita handsomely. He emerges as a beautiful woman named Emilia Perez (Gascon) and starts out on her new life.
Four years later, Rita encounters Emilia again in London. Wanting to see her sons, Rita arranges for Jessi and the boys to live with Emilia. Jessi's more interested in reuniting with her old flame Gustavo Brun (Ramerez). Emilia, feeling regretful over the boys recognizing her, starts a nonprofit with Rita to identify the bodies of cartel victims and return them to their families. She even falls in love with cartel widow Ephiana Flores (Adriana Paz). Jessi threatens Emilia's happiness when she wants to marry Gustavo and take the children to a new home, leading Emilia to attack Jessi. Jessi retaliates by taking the boys. The escalating stakes ends with Emilia kidnapped by Gustavo, and the trio on a road to tragedy that ends when Jessi realizes the truth about Emilia a little too late.
The Song and Dance: Wow. No wonder this got so much initial praise. Most musicals don't get anywhere near crime drama. This is a unique action tale with Mexican grit, French flair, and some fabulous performances. Gascon's ability to be equally passionate as Juan and Emilia got her the first Oscar nomination for a transgender woman. Saldana won for her weary-yet-caring Rita. Audiard's dynamic direction and the dusty costumes and sets manage to make the most of the lower-budget filming in France, with the gritty-yet-flamboyant outfits of particular note.
The Numbers: "El Alegato" details Rita's dull world as she walks among cleaning ladies after work, while "Todo y Nada" is the offer that changes her life. "El Encutrento" has Juan explaining why he wants to change himself. "La Vaginoplastia" and "Lady" covers Rita's attempt to find doctor willing to perform the gender-changing surgery. "Deseo" is what finally convinces the Tel Aviv surgeon to do it. "Poor Casualidad" is Rita and Emilia's reuniting in London, while Jessi gets back with Gustavo in "Bienvendia."
Emilia remembers her own crimes in "Mis siete hermanos y yo." "Papa" makes her realize that her kids are a lot more estute about identity than their mother, while "Para" details the start of the nonprofit. The hit here was "El Mal," as Rita protests the dangerous people Emilia has putting money into their business. Emilia falls for Ephanaia in "El amor." Jessi's more than happy to assert her independence with Gustavo in "Mi Camino." She finally realizes too late who Emilia truly is in "Perdoname." It ends with Ephania and the many former criminals Emilia helped celebrating her legacy in the streets with "Les damas que pasan."
Trivia: Won two Oscars for Supporting Actress (Saldana) and Best Song ("El Mal").
What I Don't Like: First of all, I don't speak Spanish, so I really can't tell how good or bad anyone's accents are. I know a lot of people complained about Mexico not being represented accurately, about France not looking a whole lot like Mexico, there being only one transgender character, and the huge focus on their surgery early in the film. That the drug cartels are made to look sympathetic doesn't come off so great, either. Some critics simply objected to how the musical numbers were often badly edited, with poor dancing and so-so singing.
The Big Finale: Spanish-speaking adults or those who don't mind subtitles on a movie and are looking for a truly unique action film may be the biggest audience for this exploration of gender, tragedy and kindness.
Home Media: Netflix exclusive in the US.
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