Cuba

Richard Nester's 'Cuba' is set in the 1950's just in the Civil war against Batista's government...

Sean Connery stars as a free British counter-terrorist whom Batista's associates hope will help them beat Castro's revolutionaries...

Connery quickly figures out, almost as soon as he landed in the exotic and dangerous island, that the revolution will succeed and replace one elite with another... He gets much more interest in following an old sweetheart, and when the two see each other, memories of his first love affair come flooding back...

Connery begins to remember when he was once deeply and ridiculously in love with her... The 'woman in red' that passed before his eyes in Havana's airport terminal was the most exotic, breath-stopping creature he had ever known... Now she is Alexandra Pulido (Brooke Adams), a highly ambitious woman who runs a cigar factory while her husband flirts with other women...

Chris Sarandon is the profligate son of one of Cuba's wealthiest men, and the charming playboy in the romantic triangle who knows everything about Havana, 'every casino, every table, and every bed in it!'

Martin Balsam is the general in the corrupt Batista regime, who intends to ask Castro to 'get rid of the Communists.'

Hector Elizondo is the junior officer who realizes late in life why few were sorry about the fall of Batista...

Jack Weston is the fat American businessman impressed by the cigar factory...

Lonette McKee is the ardent lover who rejects all the ways of behavior in Cuba...

Danny De la Paz is the very bad brother with a handgun license...

Alejandro Rey is a money-grubbing menace who puts his personal ambition over public safety...

Denholm Elliott is the soldier of fortune who buys an old airplane so quickly...

Walter Gotell is the unfeeling father who is quite separate from the businesses run by his daughter in law...

In 'Cuba', Richard Lester reveals a likable if none too demanding talent for adventure and love... His film lacks the detailed exposition of the many twists and turns of Michael Curtiz's 'Casablanca.' There is no club so well organized in his movie, no open arena of conspiracy, counterspies, secret plans, black market transactions, no true democrat with women, and no traditional woman enclosed by two rivals...

Although a trivial matter in regards to the plot, the film opens and a date (1959) appears on the screen. Given that Castro entered Havana on New Year's Day, 1959 and Battista had already fled Cuba on December 31, 1958, the events that transpire in the movie could hardly have occurred in 1959.

This drama/love story could have been excellent. Played out against the last months of the corrupt and US/UK-supported Batista regime, the collapse of the old society as Castro's fidelistas begin to take over is shown compellingly. The point is well made that a revolution will only succeed if the people are behind it which, in this instance, they clearly were.

It's a shame that the movie couldn't have been filmed in Cuba, as of course all the famous landmarks of Havana are missing, but its real problems are threefold.

Firstly the storyline is confusing, complicated and unconvincing, with none of the characters being allowed to hold one's attention.

Secondly, the acting is poor. Even Sean Connery - who is normally excellent - seems to have had his mind on other things the whole time.

And thirdly, for some inexplicable reason, the chanting of 'Fidel' as Castro enters Havana in triumph morphs into a Nazi crowd chanting 'Sieg Heil'. Whatever was this trying to say? When Castro actually came into power, one of the first things he did was to open all the 'whites-only' clubs to black people, and to make it clear in an early speech that there was no such thing as a superior race. To liken Castro to Hitler is a travesty of the facts.

So, ultimately a flawed film. Watch it not for the story or the 'message' but for what is going on in the background.

An enjoyable thriller, which although filmed in Spain, manages to capture the atmosphere and lunacy of the last days of Batista's dictatorship perfectly. Probably a contractual purposes project on the behalf of director Lester, he manages to inject just enough of his own idiosyncratic style to lift this adventure flick out of the run of the mill. Connery is totally convincing in his role as Brit counter-insurgency advisor/mercenary. Brook Adams is stunning. Good anglo-american supporting cast. Plot begins to lose its impetus about a reel before the end, and at a running time of nearly two hours, is overlong. But well worth renting the video. Socialists will not find its political interpetation of events offensive, but may be puzzled or angered by the soundtrack over the final titles - as a victorious Fidel approaches the podium, chants of 'Fidel! Fidel!' are over dubbed with a Nuremberg chorus of 'Sieg Heil!'. Discuss.

There's something about Cuba, just ninety minutes south of Key West in Florida, and its revolution at the end of the 1950s that has fascinated filmmakers and artists. Perhaps because it marked the end of an era for American interests in the country or how it set the stage for some of the major Cold War confrontations of the decade that followed, including the failed invasion at the Bay of Pigs and the dramatic events of the Cuban Missile Crisis. Whatever the case, director Richard Lester would be one of those who brought their lens to bear exploring it with this 1979 film.

The film's focus, as much as it had one, would be on a former British army major turned mercenary, hired by the toppling Batista government to help deal with their guerilla insurgency. Who better to play Major Dapes than Sean Connery? Connery brings a sense of both presence and world-weariness to the part, a man who comes to do a job only to be surrounded by fools and a chance to rekindle an old flame. Wandering between exasperation, earnestness, and hope for love, it's arguably one of Connery's most underrated performances and one that deserves more attention.

Backing Connery was a large supporting cast, perhaps too large. Brooke Adams plays the old flame Alexandra that seemingly conflicted object of desire whose motives are as elusive to viewers as she is to Major Dapes. More understandable as a character, if far less sympathetic, is Chris Sarandon as her playboy and womanizing husband, blowing money and sleeping his way around. From there, the cast features character actors is ranging from Jack Weston's slimy American businessman to Martin Balsam as the corrupt blowhard of a Cuban general who hires Connery and Denholm Elliott as a fellow British ex-pat flying for anyone with money. There are some notable then up-and-comers in the cast from Hector Elizondo's as Connery's Cuban military escort to Roger Lloyd-Pack as a Cuban revolutionary. While the film is guilty of too much casting of white actors as Cubans, it's full of good actors in parts that too often aren't enough for them to use to the utmost of their talents and seem to wander in and out of the plot without reason.

Mentioning the way characters wander in and out of the film brings us to something that is both a strength and weakness of it. Under both Lester's direction and at the pen of screenwriter Charles Wood, this is a kaleidoscope of a film. One that takes us from the streets, hotels, and clubs of Havanna into the factories and plantations of the countryside. From the strip shows of Louisa Moritz's Miss Wonderly to a group of guerillas and the ex-pats taking advantage of it all, the various strata of Cuban society teetering on edge ready to fall are on display. Thanks to a mix of location filming in Spain, sets, and costumes, it's also vividly presented. Full of both borderline poverty and decay mixed with decadent excess and splendor, and ripe for a change that was perhaps inevitable.

The problem is that it also means the film never comes together. In an ideal world, or maybe with some slight editing, Cuba would flow together as a series of interconnected events, the tale of disparate people who wander in and out of each other's lives. Instead, and where the blame lies isn't clear, the film feels like the scripts for several different ones tossed together. Or like an anthology of short stories linked together without enough connective tissue. Combined with dialogue that can border the cliche at times and downright wooden in others, it knocks the whole work down a few rungs.

Cuba then remains an intriguing but flawed piece of work. So many of its elements, from Connery's performance to its location and kaleidoscope view, work so well. Yet it's scope is in some ways too wide, with no one and nothing well-defined enough to come entirely into focus. Nevertheless, as a portrait of a time and place, Lester's Cuba works far better than it does as a drama and remains watchable even with its flaws.