Soy Cuba (1964)

User Rating:

7.6/10   

Director:

Mikhail Kalatozov

Writers:

Enrique Pineda Barnet (writer)
Yevgeni Yevtushenko (writer)(Cuban version)

Release Date:

December 1995 (USA)

Genre:

Drama

Plot:

Four vignettes in Batista's Cuba dramatize the need for revolution; long, mobile shots tell almost wordless stories...

Plot Keywords:

Student | Farm | Sailor | Cuba | Revolution

Awards:

2 wins & 1 nomination

Cast

Sergio Corrieri	...	Alberto
Salvador Wood
José Gallardo	...	Pedro
Raúl García	...	Enrique
Luz María Collazo	...	Maria / Betty
Jean Bouise	...	Jim (in Cuban version) (as Jean Bouisse)
Alberto Morgan
Celia Rodriguez	...	Gloria (in Cuban version) (as Zilia Rodríguez)
Fausto Mirabal
Roberto García York	...	American activist
María de las Mercedes Díez
Bárbara Domínguez
Jesús del Monte		(as Isis del Monte)
Luisa María Jiménez	...	Teresa
Mario González Broche	...	Pablo (in Cuban version) (as Mario González)

Also Known As:

Я - Куба (Soviet Union: Russian title)
I Am Cuba
Me, Kuba (Soviet Union: Georgian title)
Ya Kuba (Soviet Union: Russian title)

Runtime:

141 min

Country:

Soviet Union | Cuba

Language:

Spanish | English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Brazil:18 | Italy:T (2005) | Singapore:PG | UK:PG | Finland:K-12 | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud) | Argentina:13

Filming Locations:

Cuba

Company:

Instituto Cubano del Arte e Industrias Cinematográficos (ICAIC)

Trivia:

The now famous long take that begins at the top of the hotel, then winds around and down into the swimming pool, originally come out of the water and continued. The camera was hand held, passed from crew member to crew member, to make its way down the side of the hotel into the pool. The camera lens had been equipped with a high speed, spinning glass disk taken from a submarine periscope. The spinning disk was installed to fling water drops of the lens when the camera emerged from the swimming pool at the end of the shot. Much to the disappointment of the camera crew, director Mikhail Kalatozov cut the end of the take, ending it underwater.

Goofs:

Revealing mistakes: Mariano repeatedly fires and cocks his bolt-action rifle, but no shell casings are ejected.

Quotes:

Pedro: I used to think the most terrifying thing in life is death. Now I know the most terrifying thing in life is life.

Movie Connections:

Referenced in Boogie Nights (1997)

Why does everyone focus on the technicalities?!!?

Just about every comment posted here eulogises Soy Cuba's camera-work, which is certainly understandable as it is remarkably filmed, but this is done to the neglect of other extremely important aspects. Whether they are bigger fans of the camera-work or of the direction, however, all the commentators on these pages seem to share the caveat that arguably the main point of the film - its plot - amounts to nothing more than "silly propaganda" or a curiosity of totalitarian film making. Such an attitude is a terrible oversight! Soy Cuba is about people's desire for freedom and a better life, and the revolutionary potential of this desire when conditions reach a point beyond which people will no longer endure. It is about self respect, and courage, will and humanity and a human, filial patriotism; it is about the distillation of Cuba as an idea and a cause for justice and empowerment. I cannot understand how deeply postmodern and jaded, or just plain superficial, someone has to be to notice all the nuances of angle and light and completely miss the deep emotional and spiriual poetry of the content (in fact, the US government certainly paid good attention, for it banned the film until 1992)! It is like discussing Korda's portrait of Che Guevara in terms of focus and aperture alone!Did they not feel goosebumps as they watched the scene of the students on the steps, and the dead dove? I am lost for words! Indeed, if it were just a vapid propaganda piece, what explains its de facto censorship in the Soviet Union? I am quite sure that many of these commentators must have visited the Caribbean on holiday at one time or another; I know from my own experiences, and they ought to have immediately realised on seeing the film, that the portrait the it paints of Cuba remains the reality of Jamaica, Dominican Republic, Haiti today, some 65 years later. Watching this film, we should above all feel indignant, rather than heaping praise onto disembodied and decontextualised technicalities such as camera-work. To dismiss it as propaganda yet ogle at its images is akin to prostituting this beautiful, very deeply moving, and inspiring film, the same way that Cuba herself was prostituted. Shame on you.