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Dollar Mambo (1993)

6.8
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Ratings: 6.8/10 from 29 users  
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A dancer who works in the seedy Salón Panamá falls in love with a smuggler who is followed by a corrupt policeman, when on December 20, 1989, the US army invades Panamá and thousands of innocent people are killed. Based on true facts.

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(with the collaboration of), (with the collaboration of), 5 more credits »
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Title: Dollar Mambo (1993)

Dollar Mambo (1993) on IMDb 6.8/10

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Cast

Cast overview, first billed only:
Dolores Pedro ...
The Dancer
...
The Thief
Raúl Medina ...
The Witness
Litico Rodriguez ...
The Ventriloquist
Tito Vasconcelos ...
The Transvestite
Eduardo López Rojas ...
The Policeman
Kandido Uranga
Silvestre Mendez ...
The Rumba Player
The Gay Crooners ...
The Cabaret Entertainers (as Los Explosivos Crooners)
Olga de la Caridad Díaz
Gerardo Martínez ...
(as Gerardo Martínez 'Pichicúas')
Gabriel Pingarrón
Ana Silvia Valencia
Luis Mariano Napoles
Jorge Becerril
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Storyline

During the American invasion of Panama to oust General Noriega, a mambo dancer is raped by American soldiers. Based on a true incident. There is effectively no dialog in this film: Everything is communicated through dance or pantomime. Written by Bill Kirkpatrick <mkirk@biomathp.unizh.ch>

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Release Date:

18 October 1995 (France)  »

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User Reviews

 
The music of time
15 September 2005 | by (Bridgend, South Wales) – See all my reviews

Leduc's career as a director seems to consist of expressing left-wing South American political commentary through an eclectic mixture of musical styles; a bona-fide film 'artist' as opposed to an auteur or even an avowed celluloid storyteller. This non-narrative retrospective response to the 80s American occupation of Panama is no exception to the rule.

However, there is nothing particularly didactic in its combination of documentary footage and the director's trademark wordless staged 'action', largely confined to an intentionally artificial local nightclub and set to its insuppressible mambo rhythm; which ultimately results in the sort of alienating subjective experience one encounters when coerced into attending a modern art exhibition.

The combination of its vague love-triangle 'plot' juxtaposed with rumba, rumbles and rumpy-pumpy may however reward the more imaginative cineaste with a gamut of references from the cinematically-expressed anti-U.S. manifesto of 'Medium Cool' to the externalised physical choreography of knife-edge emotion in 'West Side Story'; and given the subject matter, the opportunity to compare and contrast with such left-of-centre mainstream examples of American cinema may therefore not be unfavourable.


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