Life sucks, now go play with your dog.
Octavio (Gaël García Bernal) loves his brother’s pregnant wife, and saves up money for her in the worst way; a rich couple, Valeria Maya (Goya Toledo) and Daniel (Álvaro Guerrero), both are in love but have to find it out the hard way; and an ex-guerrilla, El Chico (Emilio Echevarría), whose discovery of a lost dog inspires him to reunite with his own long-lost daughter. All three stories come together in a very tragic automobile accident and affects them all in different, shocking ways.
Director Alejandro González Iñárritu doesn’t seem like very happy and light guy. Most of his films concern death, sadness, pain, and agony, which are all displayed in the worst imaginable ways. That’s why I went into his debut expecting just the same type of misery displayed in all of his other flicks, but this time, with dogs!
This movie, my friends, is not an easy watch and that’s one of the first things I have to discuss here. First of all, if you are a dog-lover, like I am, you will find yourself covering your eyes for a good part of the movie as a lot of it concerns dog’s fighting, being dead, or just bleeding all over the place. Now granted, these are not real dogs actually dead on film and the actual fight scenes themselves are just of them playing, but it looks very realistic here and makes you wonder just how they got away with all of this stuff, without being brutally attacked by the RSPCA.
That’s man’s best friend right there, so be nice to it!
But with that said, if you can get past the doggy violence and deaths, you will probably find yourself gripped for a good amount of these two-and-a-half-hours. Notice how I didn’t say “find yourself entertained”, because that is not something you will do with this movie and honestly, that’s actually fine. What I mean by this is by the fact that a lot of sad and miserable stuff happens to these characters and as bad as it is, we care about them. That’s why the gritty-camerawork works so well as it displays a type of realism that makes us feel as if we are watching real people, go through some real, messed-up problems with other human beings, and their doggies. There’s a lot of zooming in, zooming out, moving around, and jumping back-and-forth that this camera does which may bother some people, but for me, just put me one step closer into the lives of these people and made me feel as if I was along for the wild, and terrible rides that they were about to be on.
The hyperlink cinema-aspect also works as it keeps us on the edge of our seats wondering what’s going to happen to these characters, and just exactly when are we going to hop into another one. For the most part, Iñárritu doesn’t really screw up the whole linking of three lives aspect to this flick and gives us glimpses into the lives of these different characters, while one story is still going on. My only problem with his approach is that I feel like his transitions were sometimes random and it seemed like it made no sense for him to just keep on showing us these little snippets of other stories that seem to make no sense at first. He does this throughout the whole film and it’s more random than it is confusing but once the actual stories themselves start to play-oy, then it all comes full circle and it surprised me.
Since the film is essentially three stories all packed into one, you have to expect each of them to be as compelling as the one before it and in some ways, that’s the case. However, in other ways, it isn’t. The most powerful stories in this whole flick were the first and last as they showed two characters, who were thrown into bad situations and did whatever they could to make the best of it. But then, there is that second story which did not do anything for me other than put me to sleep which I don’t know is my fault or the film’s fault but seriously, it’s boring.
I think the biggest problem with the second story is that it follows the first, which is entertaining, fast-paced, and very quick on it’s feet with what it wants to get across. A lot of this film has been compared to Pulp Fiction and while I don’t necessarily think that it’s a fair one, the first story here is the only one that I can really see where they get that from. The opening story is exciting and interesting, while hardly ever seeming like it’s hitting a dull note, but once that second story comes through, it takes the whole mood down. Instead of getting a kid who enters his own dog through the underground dog-fighting ring, we get a story about some spoiled supermodel gal who can’t stop whining about her dog, and the adulterous boy-toy who starts to wonder why exactly he left his wife and kids in the first place. I get that maybe we were supposed to be annoyed and bothered by the way she carried herself throughout the whole story, but I didn’t really care all that much for her and once her story was over and done with, I was sort of happy. And if you know how the story ends, I can assure you, feeling relieved is not a feeling one should feel.
Surprised Michael Vick didn’t take advantage of the open casting-call.
In the grand scheme of things, though, it sort of sticks out like a sore thumb.
The other problem that I ran into with this flick was that I couldn’t help but wish we actually got an ending to these stories. There is probably one story where we get a definitive ending that makes sense, but the other two are sort of left open-handed. Usually, this works as I like ambiguous endings and having to wonder and guess what happened to the characters once the camera stopped rolling (I’m weird like that), but here, it bothered me because I actually felt like we deserved to see what ended up happening to the people that we spent over two-and-a-half-hours with. It doesn’t seem that long but once it’s over, you’ll realize that maybe some of it should have been cut out in the editing-room, especially since we weren’t going to get any sort of resolution at the end.
Despite these problems though, the performances never seem to be fully harmed as everybody does a great job with what they are given to do, which is a whole lot. Gaël García Bernal, who hardly ever puts in a bad performance, really captures that type of young and unrequited love and as weird as it may be to see him go for his sister-in-law, you can’t help but stand behind the kid because he has passion and he has the ability to love. Also, his brother is a huge dick so that’s another reason. Goya Toledo was annoying as the supermodel who constantly yells throughout her whole story, but in a good way too as her character seems like the type of one that can’t help but hate everything that’s happening to her at this point in time. Didn’t make me like her character more, but at least she was fine.
The one real stand-out here though is Emilio Echevarría, who goes through the biggest transformation of all in this film where he plays a very cold, heartless old man that somehow switches everything up once he realizes it’s time to see his estranged daughter. Echevarría has a very easy-to-like character because of the way he cares for these homeless dogs, but also has a bit of a mean-streak to him as well mainly because the guy is essentially a hit man that kills people for money, but then cries about it when it’s over. It’s a very weird character that we deal with here but Echevarría is up to the challenge and his last monologue brings a lot of tears, because it pretty much makes up the whole point that this movie was trying to get across. But done so in a way that wasn’t manipulative or preachy, but just just right.
Consensus: Amores Perros is dark, sad, miserable, and very depressing, but also a fairly gripping piece of hyperlink cinema that puts us into a very upsetting world and doesn’t fully let us go, even if it is a bit disjointed.
7.5 /10 = Rental!!
Oh yeah, and dogs are a metaphor for life. Or something.
Photo’s Credit to: Goggle Images