6.8/10
71
4 user 8 critic

Dear Fidel (2001)

Lieber Fidel - Maritas Geschichte (original title)
Marita Lorenz, the daughter of a German sea captain, recalls how she became the mistress of Fidel Castro in Havana soon after the Cuban revolution in 1959. After being six months pregnant ... See full summary »

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Cast

Credited cast:
Marita Lorenz ...
Herself
Rest of cast listed alphabetically:
...
Himself (archive footage)
Al Chestone ...
Himself
Joe Lorenz ...
Himself
...
Himself (archive footage)
Lee Harvey Oswald ...
Himself (archive footage)
Monica Mercedes Pérez Jiménez ...
Herself
Jesús Yañez Pelletier ...
Himself
Mark Yurasits Lorenz ...
Himself
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Storyline

Marita Lorenz, the daughter of a German sea captain, recalls how she became the mistress of Fidel Castro in Havana soon after the Cuban revolution in 1959. After being six months pregnant with his baby, she was drugged and given a near fatal abortion. She was then recruited by the CIA and Mafia to assassinate Castro, but she threw away the poison pills just before she met Fidel. She then worked for the CIA in Florida and, in 1962, had a daughter while she was the mistress of an ex-dictator of Venezuela. She later married an FBI agent, by whom she had a son, and they spied on UN diplomats in a New York apartment. She claimed her spying days were over when she testified, in the 1977 Kennedy Assassination Inquiry, about her connection to Frank Sturgis and Lee Harvey Oswald. Written by Will Gilbert

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Documentary

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Release Date:

14 November 2001 (France)  »

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Dear Fidel  »

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Outrageous self-conceit - on the part of the director!
3 April 2003 | by (Vienna, Austria) – See all my reviews

Marita Lorenz is in love with Fidel Castro. She has a daughter from the former dictator of Venezuela. She used to work for the CIA and various other services. Oh, and she knew Lee Harvey Oswald and states not to have liked him very much.

No matter whether these stories are true or not, they are told in a painfully casual way, as if they did not form the core of the film. Cuban dance scenes and spectacular air shots seem to be much more important to the director. (Another hint to the director's outrageous self-conceit: when I saw the film on TV, it was directly followed by a making of which consisted mainly of interviews with the director – a documentary about a documentary!!!) What a difference compared to Heller's and Schmiderer's film Blind Spot: Hitler's Secretary, which has a similar starting point (a woman talking about her life with a famous dictator)! Dear Fidel depicts how documentaries should not look like.

Despite its endeavour to look spectacular, the film results in excessive boredom – which is a shame in connection with a woman who should have so many stories to tell. A huge disappointment.


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