6.1/10
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1 user 1 critic

La muerte de Mikel (1984)

Opening at the funeral mass for Mikel, we flashback to those that played a part in Mikel's life and death; his estranged wife, his traditional Basque mother, a female impersonator and ... See full summary »

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2 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
Mikel
Montserrat Salvador ...
Doña María Luisa
Fernando Telletxea ...
Fama (as Fama)
Amaia Lasa ...
Begoña
Ramón Barea ...
Jon Uriarte
...
Martin
Juan María Segues ...
Don Jaime
Xabier Elorriaga ...
Iñaki
Daniel Dicenta ...
Inspector
Alicia Sánchez ...
Arantxa
Javier Villalba ...
Cecilio
Carmen Chocarro ...
Maite
Iñaki Merino ...
Ivan
Nati Ortíz de Zárate ...
Miren (as Nati Ortiz)
Paco Sagarzazu ...
Peio
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Storyline

Opening at the funeral mass for Mikel, we flashback to those that played a part in Mikel's life and death; his estranged wife, his traditional Basque mother, a female impersonator and friend to Mikel in his coming out, and even the local priest. Written by Havan_IronOak@Bigfoot.com

Plot Summary | Add Synopsis

Genres:

Crime | Drama

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Details

Country:

Language:

Release Date:

17 February 1984 (Spain)  »

Also Known As:

Michael's Death  »

Filming Locations:


Company Credits

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Technical Specs

Runtime:

Color:

(Eastmancolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Antonio Banderas auditioned for the role of Fama by sending pictures of him in drag to Imanol Uribe. María Barranco did his make-up. See more »

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User Reviews

 
This film is under-appreciated
29 October 2006 | by See all my reviews

I would like to challenge the rating of 5.9 for this movie. After the first viewing, I would agree that it deserves a 5.9. Yet seeing it twice and even a third time, the viewer begins to absorb the central theme of the Individual vs. the Collective that runs through the film.

First off, this is not a true Spanish film. It is a "Basque" film. It deals with the problems of identity formation for a Basque individual trapped by his "suffocating pueblo" which imposes on him (Mikel) a masculinity that masks who he truly is. Only by leaving the pueblo and going to Bilbao, does he ultimately discover who he truly is.

Uribe plays with this irony in Bilbao in the scene where Fama, the transvestite, performs a parody of Basque culture. Yet in this "cinema within the cinema," Mikel finds himself, and he transcends the borders of a rigid Basque identity.

This is also a film about ETA, the Basque separatist/terrorist group. It questions whether one can be both an individual at the same time as part of the collective, ultimately revealing that ETA suffocates the individual and is, for this reason, an extension of the paradox of Basque society in the post-Franco years, where ETA has come to lose the "Other" - the Francosist State against which it had formed its collective ideal.

To truly understand this film, which is the third part of a "Trilogy" called the "Basque trilogy," one must understand the state of Basque film at this time, which was still searching for its own identity in the "zine-clubs" of Bilbao.

Also, the film is rewarding for broaching the issue of "What is a Documentary." Uribe shoots many "documentary-like" moments, such as the black and white scene where Mikel recounts his past aid to the ETA militants. These moments are surreal - they bring us above the activity and into the deeply individual feelings of a man frustrated that his collective group does not experience these documentary moments, but is only a passive viewer.

In terms of modern cinematography, the film falls short. Yet its underlying message remains strong.


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