Hombre

Starring:Paul Newman, Fredric March, Richard Boone, Diane Cilento, Cameron Mitchell, Barbara Rush, Peter Lazer, Margaret Blye, Martin Balsam, Skip Ward, Frank Silvera, David Canary, Val Avery, Larry Ward, Linda Cordova, Merrill C. Isbell, Pete Hernandez
Director: Martin Ritt
Studio: 20th Century Fox
Product Type: DVD

Amazon.com

Paul Newman is the blue-eyed "savage," a white man raised by the Indians who rejects so-called civilized society for his spiritual family, in Elmore Leonard's take on Stagecoach. It's not exactly Grand Hotel on wheels. The hypocrites, crooks, and racists Newman travels with cast him out of their polite company in the coach, then turn to him for salvation when outlaws hold up the stage and hunt them through the desert. It's hard to "like" Newman's cold, hard survivor, but you can't help but respect his cunning and his unsentimental directness. Fredric March is sweaty with corruption as a crooked Indian agent, and Richard Boone smiles his deadly charm as a lusty bad man. While this 1966 Western wears its social politics on its dusty sleeves, director Martin Ritt tempers the revisionist moral of the tale with a stripped-down ruthlessness befitting the rugged, unforgiving landscape. --Sean Axmaker

Description

John Russell (Paul Newman), a white man raised by a band of Arizona Apaches, is forced to confront the society he despises when he sells the boarding house his father has left him. While leaving town by stagecoach, several bigoted passengers insist he ride outside with the driver (Martin Balsam). But when outlaws leave them all stranded in the desert, Russell may be their only hope for survival! Diane Cilento, Frederic March, Richard Boone and Barbara Rush co-star in this action-packed Western classic.

Customer Reviews:

A Man by any other name..........2007-05-14

Hombre (1967)

Hombre (1967) staring Paul Newman as John Russell is one of my favorite westerns. It is based on the book by the same name written by Leonard Elmore.

In it Russell a blue-eyed white raised in part by a white man, then by the Indians, inherits a house in town.

He boards a stagecoach and tries to sit with the Whites inside, but the Whites don't want to have anything to do with him. He is asked to ride up top (kind of like sitting in the back of the bus). Later on the stagecoach is robbed by several white men and a Mexican. Russell manages to shoot one of the White men and recover the gold stolen by the Indian Agent riding inside the stagecoach. The Whites are only too glad to walk with Russell now, but wouldn't ride with him before.

*************SPOILER ALERT******************************

In The end Russell kills the banditos trailing the party and the Mexican asks with his dying breath, "What was his name"? He'd been calling him Hombre up to that point which is Spanish for Man. The Mexican thought of Russell as a Man even if the Whites did not.

Gunner May,2007

A very good movie. It is also a great example of the inverted Western........2007-03-21

In the mid to late sixties the Western was running out of steam and one of the popular fashions of the time was to invert the traditional storyline of the Indians being the bad guys and the Settlers (read Whites) being the good guys. Now, in reality, most of the better Westerns weren't that crude or binary, but it was the accepted shorthand for the genre. This movie is a pretty darn good example of the inverted type. However, given Paul Newman's especially blue eyes it is hard to accept him as the Indian. So, what they did was make him a White man raised among the Indians and who views himself and is viewed by others as if he were an actual Indian.

This is a story of racism, greed, lust, betrayal, vengeance, rivalry, violence, and cruelty. You know, all the cheerful and happy stuff of life. And the bad guys in this movie are terrific. Fredric March is supposedly a pillar of society and is shown to be more of a moral swamp. Richard Boone is honest in his villainy and brightens the movie in his confrontations. He really expects to have little trouble in getting what he is after and is frustrated by this strange hombre (he doesn't know Newman's character's name, John Russell, for most of the movie).

The movie isn't happy with one or two bad guys. It takes every character and strips them bare until the core of who they really are shows through. At least, what the fashionable fiction writing of the 1960s believed was at the core of each of us shines through.

The final confrontation is pretty grim, but heroic in its way. There is lots of good dialogue, but even better acting. Much of the film is done with facial expressions and we have to pay attention with our eyes to understand what is really going on with each of the characters.

I recommend this movie. It is very worthwhile to watch, if a bit grim. And it is a nice piece to remind us of the social politics of the 1960s. And, what the heck, it shows Paul Newman in his prime. Plus, it has Richard Boone and a bunch of other fine performances!

Paul Newman's Ode to Self-Reliance.......2007-03-09

Some reviewers on this site have said that all the white people in this film are louts; that's not true. Unlike Dances With Wolves, where every white man other than Kevin Costner's character is a brute, a lunatic or a savage, in Hombre the characters have a great variety of virtues and faults -- admittedly, mostly faults, but they are not caricatures, and I don't see this movie as a liberal guilt trip by whites.

For example, Peter Peter Lazer as the ticket agent stands up to Cicero Grimes and enforces the rules of the stage company; that's an example of a white character in the movie showing integrity. Diane Cilento's character is frank and gritty and self-confident. She stands up to Grimes in the stagecoach, calling him on his lewd comments. It's her integrity at the end of the movie, her willingness to put her own life on the line for others, that makes Newman's character finally relent from his self-contained aloofness and face the outlaws.

Newman is generally described in these reviews as selfish and egotistical; I disagree. The scene in the bar where he clobbers a tough guy in a bar who's abusing Indians with the butt of his rifle, showed lots of courage and it was done for others who were not in a position to help themselves. (Western justice wouldn't help the Indians; they knew it, and Skip Ward and David Canary's characters knew they could get away with it.) I thought it showed a lot of guts on Russell's part. As a half-white he stood a better chance at justice; but then, he didn't rely on others to provide him with justice. That's one of my favorite scenes in the movie.

The scene in the ticket office when Richard Boone's character Cicero Grimes enters, sets the background for a number of important aspects of the characters of the people in the cast. Grimes starts off trying to bully Newman's character John Russell into giving up his ticket. Grimes licking his lips, the way a cat does when it's really ticked off and ready to explode, with the word "friend" on his lips, is incredibly intimidating. He even blows away a returning soldier, who can't stand up to him, played to a "T" by Larry Ward. Newman's character, on the other hand, seems to be enjoying it and isn't fazed by Grimes' intimidation. I wish that scene had played out a little longer -- I'd like to have seen how Russell would have eventually dealt with Grimes; but that dynamic was held off till the last scenes of the movie.

Newman was aloof in the ticket scene. He didn't reach out to help anybody else, and this sets the scene for who he is: A self-sufficient man, who assumes that everybody else can fend for themselves, too. That's why he doesn't jump all over himself to help others -- he assumes they're grownups and can take care of themselves.

Besides coming to the aid of the Indians in the bar, another scene where Newman's character reaches out to help people is when the stage is held up. On the one hand he says to the bandits that he's not a witness to anything. But as soon as he sees his chance, he grabs his rifle and starts shooting. That's another aspect to the character of John Russell -- he's ruthless with criminals. If they threaten his life -- he threatens or takes theirs. This trait was also shown when he banished Dr. Favor to the desert with no water -- after Favor attempted to leave everyone else without water. Even Dr. Favor said it was tough, but just. This trait of John Russell was also shown when Cicero Grimes came up the hill to have a palaver with the people he was holding hostage at gunpoint in the shack. Grimes in essence came up the hill under a flag of truce. None was waved, but that was the dynamic, and he assumed that the "rule" of the situation was that since he was coming to talk, nobody would harm him. But Newman's character wasn't buying into this hypocrisy. Cicero Grimes was threatening the lives of all of the people in that shack. His conversion to gentlemanly ways when it suited him was something John Russell didn't buy into. Newman's character saw his chance, and shot and seriously wounded Grimes. Boone's character Grimes understood, shown when he paid the grudging but sincere compliment "you've got a lot of hard bark on you." (Newman's character wasn't swayed by the compliment. He didn't care what other people thought of him, good or bad. He was independent outwardly and inwardly.).

Paul Newman has generally gravitated towards playing scoundrels in a lot of his movies, people with great flaws. But this role is my favorite of Newman's, of all of his movies. The message of his character that I take from the film is: be independent, be self-sufficient. People in general are namby-pamby, and his blunt self-sufficiency chases that out of the people around him; they rise to the occasion and become grownups. In this sense it is a true American movie, i.e. depicting something of the American character; or at least our mythic impression of ourselves. America over-does independence and individualism, and Hombre is a terrific example of it.

When Barbara Rush's character is staked out in the sun, her husband won't attempt to save her, and comes across as a selfish you-know-what. John Russell won't save her because he knows, as he says to the two women in the shack, that even if they give up the money, the bandits will still kill them all. He knows there is no way of saving the woman tied up in the sun, and he has decided to not attempt it. Not until, that is, Diane Cilento's character outdoes him in integrity. She offers, at significant risk to her own life, to take the money down the hill to the bandits, even though she knows how ruthless the bandits are. She wants to try to save Mrs. Favor. Newman's character can't let that happen. I don't think it's just because it's a woman showing him up. That's part of it, but I think that a careful read of his character shows that he pays his own way through life, and he abounds in integrity. John Russell can't let somebody else bail him out, and have a higher level of integrity than his own -- so he relents and walks down the hill. He does so only after protecting the financial interests of the Indians from whom the Favors stole the money -- again showing his willingness to reach out to help people. Granted, two of the instances in the movie where he extends aid to others, are helping Indians. But he did get the whites through the desert. They followed him because, as he said, "I can cut it, lady." And he did, and they survived because of him. I think these examples refute the characterizations of some reviewers that Newman's character is selfish and egotistical. Individualistic to a fault, sure; but not egotistical, and not selfish.

This is one of my top ten favorite movies, along with Gandhi, Patton, A Thousand Clowns, The Third Man, The Fallen Idol, A Man For All Seasons, and a few others (mostly good character studies of men). I've watched Hombre dozens of times, and have just bought the DVD and am waiting for it to arrive. I live a few hundred miles from where Hombre was filmed, and I've contacted the Tucson Film board to ask exactly where the Old Helvetia Mine is located, where the last scenes in the movie were filmed. I'd like to visit there. This is a great drama, and a very satisfying movie.
Brent Poirier, Las Cruces NM USA

Newman v. Boone: Great Western Flick, Sensitive to the Plight of the Apache.......2006-11-30

Excellent western pits the quiet, stoic returnung white Apache Newman ("Cool Hand Luke", "HUD") against the bad man Richard Boone. Newman plays a quiet anti-hero role, sensitive to the plight of the Apache but not to the white society he has suddenly returned to, and speaks more so by action. Boone (Have Gun Will Travel), in contrast, plays a loud, brutal, lustful character, and he seems to enjoy the part. The movie resembles the classic "Lifeboat" or even "Stagecoach" as the occupants of a stage attempt to survive on their limited resources while hunted by Boone and company. The widely different personalities create on the run are an interesting mix as some are subtlely evil (March) and some are bold in doing "the right thing" (Rush). The end is a dramatic showdown that seems avoidable but ultimately requires standing up to brutality, Newman of course takes center stage. This excellent conflict is supported by David Canary ("Bonanza"), Cameron Mitchell ("High Chaparral") in minor roles and dramatically by Frederick March ("The Best Years of Our Lives"), Martin Balsam ("12 Angry Men"), Diane Cilento ("Tom Jones") and Barbra Rush ("The Young Lions"). Balsam plays the rational manager of a stage line that tries to mitigate the internal and external conflicts but virtually is too good or naive to counter Boone and company. The plot builds when the main charcters share the last stage out of a sleepy dusty town starting with conflict with passengers; the intellectual, strangely well to do Indian agent (March), his prim, younger, beautiful wife (Cilento) and of course, Boone. Boone is the catalyst for the interuption of the stage and ironicaly a change of curcumstamce for all involved. In support roles, Barbara Rush is excellent as the brassy, forthright passenger, and Frank Silvera, unfortunately credited only as the Mexican bandit, is also outstanding as the respectful yet cheery amigo of Boone's. This is a pretty gritty western. Well done by Newman but this may have been Boone's best movie, "Now, you put two holes in me and I owe you."

Not many of the serious Westerns can match the mood and authenticity of Ritt's "Hombre.", .......2006-11-08

There has been no tougher or more formidable Western heavy than Richard Boone... He was a fine, respected actor and powerful presence, one of the screen's most efficient scene-stealer...

In 'The Tall T,' Boone was Randolph Scott's intelligent, embittered adversary, smooth as a rattlesnake and twice as treacherous; in 'Man Without a Star,' he wrapped non-conforming farmers in barbed wire; in 'Way of a Gaucho,' he was a mean, sadistic Major who persecuted Rory Calhoun; and in 'Hombre' he gave Paul Newman a rough ride: 'Well, now, what do you suppose hell is gonna look like?'

Not many of the serious Westerns of the late sixties can match the mood and authenticity of Martin Ritt's 'Hombre.' It is a suspenseful Western melodrama pointing up racial bias and hypocrisy, with a plot modeled on greed, nobility, prejudice and resignation...

John Russell (Paul Newman) has no emotion (except anger) and little vitality; he's totally alienated from mankind and is 'alienating' as well... Russell is a white man raised by the Indians, who call him "Hombre," and with whom he identifies...

Choosing to isolate himself from white society, which he despises, he lives on a reservation and looks and dresses like an Indian... But he's persuaded to cut his hair and return to civilization to take over some property... He winds up on a stagecoach with white passengers, who, learning his background, force him to ride with the driver... Not quite an Indian, and banished by whites, he's the classic outcast in no man's land... Ironically, Russell is the only one capable of rescuing the passengers from bandits and guiding them back to civilization... The drama depends on whether he will accept responsibility for his fellow man...

"Hombre," which reunited Newman with the "Hud" team (director Ritt, writers Ravetch and Frank, cinematographer Howe), resembles John Ford's classic Western, "Stagecoach": several people, whose personal crises are outlined, are thrown together, and their interactions provide a social commentary on avarice, bigotry and responsibility... But in Ford's film, those deemed worthless by society reveal their inherent nobility, and only one man, the absconding banker, is bad... Here, the embezzler of Indian funds--Favor (Fredric March), is not much worse than the others... Except for Jessie (Diane Cilento), an honest, earthy woman in the Patricia Neal-Hud vein, they're all helpless, coward1y or selfish...

In this context, Russell is an inversion of the John Wayne hero... He's strong and silent in the traditional manner, but instead of being the expected virile defender of the weak, he helps the others only when his own survival is at stake... He refuses to intercede when the malevolent bandit Grimes (Richard Boone) deprives a soldier of his seat; is willing to leave the helpless passengers stranded; indifferently sends Favor out into the desert without water; and declines to rescue Favor's Indian-hating wife (Barbara Rush), left by the bandits to bake in the sun...

Even though he acts out of a justifiable outrage, Russell is not meant to be a sympathetic character: the white man's mistreatment may have made him indifferently cruel, but cruel he is, nevertheless... Perhaps to soften our attitude, the filmmakers have him suddenly abandon his disengagement at the end, and perform the traditional act to rescue Favor's wife...

Newman's performance here is unlike any of his others... His style has been stripped away to the bare essentials; to call it underplaying would be an understatement... He imparts a sense of transcendent stillness; when he acts he does so suddenly, returning immediately thereafter to his relatively immobile state... He speaks laconically, in clipped sentences, with a solemn, deliberately monotonous, almost lifeless voice... In addition, his facial expression hard1y changes; at times it approaches an infinitesimal smile, but otherwise it is unsociable, severe, bitter, or inscrutably neutral...

At first glance, it seems that Newman is hard1y acting, and some critics called him wooden... Russell's inscrutable expression is a mask to cover his ingrained hurt, and suggests a man in a constant state of meditation or deep reflection on the chaos around him... Appropriately, the film opens and closes on close-ups of his face, and throughout, our attention is directed toward the blue eyes, which are constantly watching, thinking, judging, condemning...

Newman also frequently folds his arms as if protecting or insulating himself from the world--a natural defense mechanism of someone who's suffered a great deal of pain, and a physical equivalent of his psychological introversion... This is Newman's most completely self-sufficient, isolated, and inhuman loner, and he gives a performance that bravely risks complete alienation of the audience... And that's what happens; as in "Torn Curtain," the character is ultimately non-involving... But it's an extremely interesting piece of disciplined acting...

Martin Ritt puts the whole picture together in a straight, precise layout of plots, accumulating action that holds interest up to the big scenes... Of all the sequences which stay in the mind, perhaps the most memorable is that in which the Mexican bandit (Frank Silvera) painfully congratulates Russell as a sharp shooter: 'Hey, Hombre! A compliment on your shooting. You put a hole in me.'

Average customer rating:

hits close to home
Another way to see things
WILL AND GRACE OLE
Amor de Hombre
Professional Life, Hedonism and the Meaning of Friendship

Amor de Hombre
Starring: Loles León , Andrea Occhipinti , Pedro Mari Sánchez , Armando del Río , and Roberto Álvarez
Director: Yolanda García Serrano , and Juan Luis Iborra
Manufacturer: TLA Releasing
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Release Date: 2003-05-20

Description

A comedic celebration of the relationship between Esperanza, a lively, just turned 40 schoolteacher in Madrid whose social life is filled with gay male friends, but not one straight man to share her lonely bed! Her best friend Ramon is a lawyer, whose success with men is unsurpassed! A tender and funny tale about the intense relationship that can develop between a straight woman and a gay man.

Customer Reviews:

hits close to home.......2007-06-30

This movie is very funny dramatic and hits close to home because i have a femal friend and we are like tha two main characters in this movie on how they act and who they hang out with it is a great movie if you have afriend that you love dearly and can't live without

Another way to see things.......2006-06-20

Well, yes is a bit like the spaniar version of Will & Grace, but the story is interesting. Good looking guys, and a unique way of storytelling. I'm sure you'll enjoy if you are into light drama, romantic comedy.

WILL AND GRACE OLE.......2006-05-15

"Amor de Hombre" is a movie that has a great script, good direction, good acting, plenty of "eye candy" and about everything that I usually enjoy in a movie especially one that is based on a "gay theme". So why have I only given it three (3) stars? I'm afraid that the two main characters annoyed me immensely.

Ramon is a gay man that fits so nauseatingly well the stereotypical view of a very shallow young gay man. He is very handsome and is always looking for "Mister Right"; however, no man is good enough or manly enough for him. In the film, when he does supposedly fall in love it's with an, at first, unavailable thug. In the film his only true love is, of course, Esperanza who is a 40 something year old extreme "fag hag".

The character of Esperanza really annoyed the hell out of me. She is a one of the most possessive, irritatating and manipulative types of person that I have ever seen in a movie. The type that I feel needs to get a life of her own. She just can't find a straight man to her liking or more importantly one that is similar to her gay friend Ramon who she also does not want to have anyone else but her. Therefore, she does everything in her power to sabotage any relationship Ramon just might have and is always there to comfort and hold his hand when life ain't working out, for him, too well. The weakling character of Ramon is, of course, very easily manipulated by Esperanza. The movie ends where we started with Esperanza and Ramon platonically kissing, at sunset, on a beautiful beach. She's happy and I'm sure that he's happy-after all tomorrow they'll still be looking for Mister Right; however, they'll ALWAYS have each other. In other words this movie is a feature length Spanish version of the television sitcom "Will and Grace".

Amor de Hombre.......2006-02-24

Really good Spanish movie that reflects the deep and sincere friendship that can be developed among 2 different type of individuals, excellent performances, and good script, out of the ordinary, I'll recommended strongly to anyone with an open criteria.

Professional Life, Hedonism and the Meaning of Friendship .......2005-09-12

AMOR DE HOMBRE is a smaart, snappy, fast-paced, entertaining little film which considering its release date of 1997 was a precursor to the now frequent appearance of films that deal with tender relationships between gay men and straight women ('My Best Friend's Wedding' and all the spin-offs). It is a smart script, well cast and acted and directed and scored and should be given the chance for a theater release now, in more expansive gender-friendly times.

Ramón (Andrea Occhipinti) is a handsome, successful lawyer in Madrid who happens to be gay and unlike most of his friends has not settled into a partnership. His closest friend is Esperanza (Loles León) who is a divorced school teacher, just turned 40, who love Ramón and constantly tries to help him find the 'right man' while Ramón tries to help her find her 'right man'. They party together with all of Ramón's professional friends - doctors, businessmen, teachers - and Ramón is hedonistic enough to have a different be partner every evening. After an automobile accident in which Ramón is injured, Esperanza moves in to care for him, a care that includes asking one of her fellow Phys Ed teachers Roberto (Armando del Río) to offer physical therapy and massage to the ailing Ramón. Because Roberto seems to rebuff Ramón's growing obsession with an unattainable straight man, the therapy ends when Ramón is able to walk. A twist occurs once Ramón is well and Roberto changes roles and is seductive to Ramón, a romance that comes to a tragic ending. In the end it is the quality of friendship between Ramón and Esperanza that provides the lasting nucleus of this tale.

It is refreshing to see a film that focuses on healthy men who happen to be gay instead of a series of beleaguered victims of the usual stereotypes who end up with hopeless tragic lives. Yes, the circle of friends seems always on the watch for the 'new man on the block', but the cruising is healthy and fun. The movie works so well because of the fine writing and direction by an amazing team - Yolanda García Serrano
Juan Luis Iborra - who seem to have pared down life in Madrid's professional sector with a fresh eye on variety! The cast is superb with special kudos to Loles León and Andrea Occhipinti. This is a light and very entertaining comedy with a message. Recommended. In Spanish with English subtitles. Grady Harp, September 05

Santo y Blue Demon Contra Dracula y el Hombre Lobo

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A new Santo fan responds
Nothing to rave about....

Santo y Blue Demon Contra Dracula y el Hombre Lobo
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Release Date: 2003-06-10

Description

After facing defeat at the hands of Cristaldi the magician, Dracula is back to seek revenge and rule the world. With the help of Wolfman and his legion of followers, victory seems eminent. Professor Cristaldi, a descendant of the magician, is warned about Dracula's plans and calls upon El Santo and Blue Demon in the hopes that they can put the infamous Count and the werewolf down for good.

Customer Reviews:

A new Santo fan responds.......2003-11-25

I'm a new Santo fan, having discovered these films through the Rise Above DVDs, which are very well done. Of the 5 films that I've seen so far, I would rank this one number 1 or 2. Of course, you have to have a taste for this kind of thing. But I find El Santo one of the most endearing "monster-fighters" I've ever come across. Yes, these films all have the flaws of many other 70s films (Mexican or otherwise)and the plots are repetitive. But they've got heart, which is not something I cannot say of similar Hammer products of the same period. And El Santo is absolutely the coolest superhero to ever come out of Mexico.

Nothing to rave about...........2003-08-19

This movie is almost an exact remake of "World Of The Vampires" except that the vampire isn't as cool and he doesn't play an organ made of human skulls and bones. Count Dracula wants revenge on the family that did him in 400 years ago. He gets his faithful werewolf servant, Rufus Rex, and a demented creep called Eric to help him. It all culminates in a duke-out in Dracula's cave with Santo and Blue Demon taking on a small army of werewolves and vampires with ill-fitting fangs. During the course of the movie Santo wrestles "The White Angel", Blue Demon wrestles "Renato, The Hippie" and at the end there is a tag team match with both Santo and BD fighting Reanato and Angel. The announcer would like to have you think it's happening in an arena but it's obviously a studio with no audience. That's about it, and it doesn't sound too bad except that it is. It has been written that this is one of the better Santo flicks so it is with a sense of dread that I look forward to checking out the other four I bought. Look guys, there is a reason why these movies are either lost, forgotten, or both. The truth is that they are not very good. The action is not all that exciting, there is no T&A, it's not even campy, creepy or funny. It's the kind of thing you'd watch if your life is "on hold" for 90 odd minutes and there is really nothing else better to do. It's a so-so color print with easily-read subtitles. Comes with an informative little insert and a photo gallery + some trailers. I really wanted this to be better but (sigh!) it's not much fun. At least none of the cast members are as annoying (not even the kid) as they are in latter-day movies. No sassy women and no smart*ss brats, and that can't be a bad thing!

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Hombre
Starring: Paul Newman , Fredric March , Richard Boone , Diane Cilento , and Cameron Mitchell
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Modigliani (Modigliani: El Hombre Y Su Leyenda) [NTSC/REGION 1 & 4 DVD. Import-Latin America]
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Karol (El Hombre Que Se Convirtio en Papa)[NTSC/REGION 1,3,4 & 6 DVD. Import-Latin America]

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Karol (El Hombre Que Se Convirtio en Papa)[NTSC/REGION 1,3,4 & 6 DVD. Import-Latin America]
Director: Giacomo Biattato
ProductGroup: DVD
Binding: DVD

General | Art House & International | Genres | DVD | Video

General | Foreign & International | Stores | DVD | Video
ASIN: B000MGRUVY

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A Successful Man (Un Hombre De Exito)
Director: Humberto Solas
Manufacturer: FIRST RUN FEATURES
ProductGroup: DVD
Binding: DVD

General | Art House & International | Genres | DVD | Video

General | Foreign & International | Stores | DVD | Video

General | Indie & Art House | Stores | DVD | Video

Product Description

Cuba's history before the Revolution is chronicled through the story of two brothers,one a revolutionary man of action, the other an unscrupulous politician trying to steera treacherous middle path between opposite political ideas. From the acclaimed director of LUCIA (Humbertos Solas),one of the most influential Cuban films of all time. Bonus materials: *Short films: "Nostalgia Cha Cha Cha:The History of Cha Cha Cha in 50's Cuba" Photo Gallery*Director Biography and Filmmography* 103 minutes Color 1986.Spanish w/English subtitles.

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