Buena Vista Social Club (1999) User Reviews

great music, wonderful images

[garay · 9/10 · 26 December 1999]

Besides the sones, guarachas and boleros (basic styles of good-old Cuban music), the beauty of this documentary relies on Wim Wenders' magnificent camera use.

It is impossible not to feel the emotion of the crowded Carnegie Hall in the climax scenes, but there are also many other images that carry the viewer to more intimate experiences of La Habana, its music and musicians. Wenders' camera takes us to the Conservatory, where pianist Ruben Gonzalez rehearses surrounded by children; or to the Egrem Recording Studio, where singers Ibrahim Ferrer and Omara Portuondo look at each other's eyes while rendering one of the most beautiful boleros I've heard in my life.

Wonderful Music

[gbheron · 9/10 · 25 September 2005]

When I rented Buena Vista Social Club I didn't have any appreciation for the type of music played by the Club; I still don't know what it's called. I rented the movie because I'm a Ry Cooder fan, and have seen some Wim Wenders' movies I liked. I wasn't expecting much, but the result is that I've just seen one of the best documentaries in my life. The premise is very simple, it's all about the old musicians and the wonderful music they make. You get to visit their modest homes, hang out in their neighborhoods, and listen to their music. Nothing more than that, but done so well, so effortlessly, you wish you could step through the screen and join them. I would recommend this film to anyone.

Flawed, yet touching and ultimately beautiful work

[Texasguy · 10/10 · 4 March 2000]

Is this film perfect? By all means, no. In places the camera work waves out of control, and the constant featuring of Ry Cooder grows tedious. Yet despite all of this, there are certain images that this film captures that have refused to leave my mind. I get chills just thinking about Eliada Ochoa tearing up during her rendition of "Silencio" as she is filmed before an audience of thousands in Stockholm. I will never forget Ruben Gonzalez sitting at his piano basking in applause. And, of course, seeing Ibrahim Ferrer walk through the streets of midtown Mannhattan in utter awe is enough to make any man choke up. Though flawed, this picture never fails to stand as moving testament to the triumph of the human spirit. For these beautiful moments alone, I give this poignant film a 10.

Wenders succeeds

[mambogod · 14 October 1999]

This is a top class film in so many ways.

To start with, there is the amazing backdrop of dilapidated old Havana, which Wenders admittedly got for free. Nevertheless, he pulls out shots which are so luminous and well constructed that they make you gasp, and all done on a digital betacam! This makes BVSC one of the few documentaries I have ever seen which must be seen on the big screen to be fully appreciated. Although I've never been to Havana, it also appeared to me that Wenders may have judged well in his balance by showing Havana as a poor broken down city and not just a place full of '50s cars, grand old buildings and omnipresent "faded glory".

The stars of the film are the old folks, of course. In some ways, the point of the film is not music - this could have been a film about people from any field. Instead, this is simply a record of what people have to say looking back on experiences from their lives which we can never repeat.

Perhaps there was a slight temptation at editing stage to steer the film towards certain themes. There was without a doubt rather a lot of places where the intended conclusion of the audience seemed to be "wow - old men can be cheeky... and they still have libidos!", but maybe only they can say whether the men themselves consider the film to be a fair reflection of the whole of their personalities, and I doubt we will ever find out.

Two points about the musical side. First, I continue to worry about Ry Cooder and his son Joaquim. Do they really need to be there? Ferrer and the old timers all kept tight lipped about Ry's slide guitar, NOT, I thought a prerequisite instrument of the average Cuban "son" band, and dare I say it, distractingly awful in at least one place in the film. Can't comment so much about Joaquim's style when playing the drums, but there must surely be some 50-90 year old cuban drummer cursing his luck that he isn't in on the party thanks to Cooder Jr.?

Second, what do Ferrer et al think about the music they are making now? How does it compare to how they considered they performed in decades gone by? Might they freely admit (as I suspect, honest and carefree as they clearly are) that they are reproducing now something which they did a lot better when they were younger? The question was never asked.

It's a tough point to make, but the average "son" singer does not I imagine consider at the outset of his career that he will only be hitting his peak in his eighth or ninth decade! If they do admit to having had a golden period in the past, why did Wenders not let us see footage of some of that. I doubt if any but a few of his audience have any knowledge of the Cuban music of the 40s and 50s so as to judge with any accuracy what merit there is in the music they are creating today. And without that, the risk is that the players are being cheered not for their musical skills but merely as museum pieces and for the fact that they are capable of doing it at their age at all. I had the slightly uneasy feeling by the end of the film that Wenders might have excluded old footage on the basis that it would show up the modern recordings as something less than the genre at its best.

You should go and see it and then tell me why I am wrong on those points, which hardly dent my rating for this as a definite 9+!

Spirit Defined

[dveale · 30 June 1999]

Loving Wim as I do, I was intrigued to see what he could achieve with this group of stellar musicians.

In a word, Greatness.

Having this group of warm, vital and oh so talented people sure helped him out. What is captured, for me, is the incredible staying power of true, heart felt music. These people sing, play and dance with a sense of worship. Having seen many hard times and passed through trials and tribulations (that we in the US have little understanding for) these people through faith and belief, persevered and continue to shine like diamonds.

Wim also conveys an old world beauty in a place run over by westernization. The surf smacking the coast line and spraying the ol' 50's cars racing down the road. The streets at night dimly lit, allowing the colors to permeate your senses. You feel like you can taste the blues and touch the pinks. The bright afternoon sun, sparkling among the ruin of buildings long forgotten to some but revered still by others. A magical yet very real place is given to us to explore in this film. I, along with many others, have an overwhelming urge to go to Cuba now and experience for myself.

If you have a chance to see any of these musicians live, DO SO! You will not be disappointed. If you do not, see this movie and get yourself a taste that will leave you breathless for more.

Cuba delights, Cooder gets the credits

[Andrei_Ciprian · 9/10 · 8 August 2005]

This movie was a must for me, not for cinematographic reasons but for the piece of music history it contains. I had heard Ibrahim Ferrer was coming to Romania with Buenos Hermanos Tour. So I tried to find out all about the Buena Vista history. I have found Cuba a far away, resolute place, nevertheless glamorous and melancholic. Popular Cuban music is an absolute jewel that had to be forgotten even in its' own country and then brought back into the limelight by the likes of Cooder and Wenders. Cooder is a scavenger that wanders the exotic musical destinations for the next big hit. The film is centered too much on Cooder, and I find the time allotted to Ibrahim, Omara, Compay, Barbarito, Cachaito and the others (the real musical giants) unsatisfactory. You only get a glimpse and then have to run away for the next character... Yet, Wenders manages to catch the sweetness in the Cuban relaxed lifestyle, beautiful Rembrandt-like sunshine coming through leaves and a touch of history and relaxed musicians in the act of recollecting.

Lovely Film -- but...

[Fantomas-6 · 14 January 2000]

I just got to see this on video last night. It's a lovely film, and the protagonists are memorable. My one problem, however, is with Ry Cooder. Don't misunderstand my admiration for Cooder's past work. He's an original, often evocative guitarist and composer. I just felt that his additions to these recordings -- both in the studio and in their concert versions -- were intrusive at the least. That wailing slide guitar just about ruined some great songs. I'm surprised the gentlemen and ladies of the band didn't say anything. It was a relief when he sat out of a performance. I really wanted to jump into the film, tap him on the shoulder and ask him to put down his guitar and just sit behind the mixing board!

OK. That's my rant. This is an impressive and lovely film.

If you have a chance, track down 1997's Black Tears (lagrimas Negras).

Well-done documentary about long forgotten Cuban musicians ...

[dwpollar · 7/10 · 14 March 2001]

1st watched 3/14/2001 - (Dir-Wim Wenders): Well-done documentary about long forgotten Cuban musicians and American country musician Ry Cooder's adventure into putting together this band. The music is captivating, the musician's come across as greatful wonderful people who just happen to be able to play their particular instrument very well. Tremendous look into Cuba and it's people with many shots of the city Havana. These musicians are very proud of their country and have no intention of difecting as we as Americans feel that they would because of our limited exposure into this culture. Rare opportunity to walk into a land and people that we don't often see.

Charming film - the people behind the music

[mstomaso · 9/10 · 17 October 2005]

It's hard to imagine a better set up for a magical documentary: Wim Wenders, Ry Cooder and a group of ancient and brilliant Cuban musicians. This film tells the story of the reassembling of the Buena Vista Social Club, as a sort of composite house-band including several popular Cuban jazz musicians, most of whom had given up their musical careers long ago. Ry Cooder helped get the players together, played with them, adding his respectfully subtle guitar work to the mix, and got their album released to popular and critical success worldwide.

What I found most impressive about this film is the humility with which it was approached by Ry Cooder. Mr Cooder has done some great work in the world of music, and this must be counted among his triumphs. However, I would have to agree with Mr Cooder, that the credit for the magic of the Buena Vista Social Club was all in the chemistry and performance of its Cuban stars. To see what I mean by all of this, you should see the movie. Whether you buy the CD or see the movie first matters little. You should do BOTH.

Wim Wenders also, intelligently and appropriately, lets this story tell itself. Only occasionally does his artistry (as potent as it is) flare up - such as the scenes with the pianist (who Wenders clearly adores, and understandably so). All in all, the American / German production team on this film takes a back seat to the music, and the stories behind the musicians. I found this a refreshingly honest documentary approach and I thoroughly enjoyed the film.

My enjoyment rating is 10+. I gave the film an 9 because I am sure some will dislike either the music or the proactive approach toward Cuban/American relations. It's definitely not a film for all people. Don't watch it if Cuba brings up strong negative emotions for you.

Give Ry Cooder a break!

[rogar131 · 14 March 2003]

So a man who chases an enthusiasm for Cuban music and ends up spending his own resources to record and popularize a bunch of musicians who would have died in obscurity otherwise, takes great pains to present the music in a relatively unaltered state (unlike some such other world music experimenters like Sting and Paul Simon), and even removes much of his own contributions from the recording mix, is a self-aggrandizing cultural imperialist. The proof of the man's real intentions lies on the disc, an understated and moving documentation of a era that got plowed under by the cold war.

As for the film, indeed it's not perfect. It would be nice to have full songs, but they decided not to go with a strict concert film and concentrate on the project and the stories behind it. If you want more, the CD is easily available and highly recommended. When I saw this movie at the Lincoln Plaza cinema in Manhattan, I decided when the movie ended to trek over a few blocks to the local record store to see if they had the Cd in stock, As I walked down the street, I noticed that most of the people who had just seen the film were going the same way, and indeed, appeared to have the same idea I did (it was a packed show, by the way). It is perhaps a weakness of the film that it depends on the album for it's interest and power, but it is a loving document of the process.

A great collaborative effort

[Bobby C-2 · 10/10 · 29 June 1999]

This is one of the best movies on music that I've ever seen - a great collaborative effort by Wim Wenders, Ry Cooder and, most importantly, the Cuban musicians. The musicians portrayed in this documentary are truly beautiful people - not necessarily beautiful in the Hollywood sense, but beautiful in their hearts and souls.

Wim Wenders takes us through the backstreets of Cuba and intersperses interviews, that show the roots of the music, with recording studio and concert footage. The music and lives of these exquisite musicians are both sad and beautiful. Several of them had all but abandoned music before Ry Cooder assembled this project. Cooder and his son take a back seat to these Cuban veterans who deserve all of the recognition they are finally receiving.

The scenes of two of the older singers looking at the statues of American heroes in a souvenir shop in Manhattan is especially touching. And the music, especially the songs from Carnegie Hall, are stunning.

On both a sociological and musical level, this is a very moving documentary.

This could have been a brilliant documentary

[wisewebwoman · 2 September 2000]

And why wasn't it? The editing, the shaky hand held cameras which made it difficult to read the subtitles, the musical numbers cut off before completion, the insertion of Ry Cooder and or his son into practically every frame, the story management - why did it not show the preparation and rehearsals leading up to the climax of Carnegie Hall. The touristy reactions in New York were too kitchsy for words and took the dignity of these brilliant musicians away. I wanted more of these musicians' stories and my favourite sequence was of the pianist playing in Havana and all these tiny little ballerinas dancing around him, caught up in the magic. More of the history of the Buena Vista Social Club would have been wonderful also - this was sad in its omission. These incredible musicians were not served well here.

An excellent, very educational movie with some amazing music

[ploeppe · 10/10 · 13 May 2005]

A long time fan of Ry Cooder, this was to me another of his explorations into music that is on the verge of being "lost". Music in pre-Castro Cuba was very influential throughout the world; Dizzy Gillespie, the brilliant trumpet player, writer, and innovator drew extensively from these Afro-Cuba rhythms; also other seminal writers such as Gil Evans, Saxophonist Sonny Rollins...Ellington was influenced by his Cuban percussionist Juan Tizol...one could go on for days citing examples of how this Cuban music became part of the progressive North American musicians' lexicon. Even "I Love Lucy" exposed us to Cuban big band rhythms by way of her husband. Bottom line is this-if you are anything of an aficionado of music, this film is a must. If you are an aspiring musician it is indispensable to witness the musical interactions of excellent older musicians that really know what they are about, and that obviously love to play. Now we are seeing a new generation of great Cuban jazz musicians, such as Gonzalo Rubalcaba, Claudio Roditi, Paquito D'Rivera, Pancho Sanchez...the list is almost endless. This movie allows us to see what must have been very influential musical roots. A must see, heck. I own it!

The Best Music Video You Will Ever See

[bosomism · 10/10 · 10 June 1999]

The Buena Vista Social Club executes its premise effectively-- it documents the unearthing of some amazing but somehow forgotten Cuban musicians. Ibrahim Ferrer is especially memorable. This is easily Wim Wenders' best film in a decade. The photography is poetic.

Left with a favorable impression of the film and Cuban music.

[Romano-3 · 8/10 · 17 August 1999]

Romano Rating: 84%

Now I understand why these people are known in Cuba as "los superablos" (the super-grandfathers)! The presentation of Ibrahim Ferrer and the other Cuban musicians is accomplished at a wonderfully relaxed pace. The film slowly blossoms before your eyes. In seeing it, I gained a new appreciation for a type of music for which I previously had little exposure or understanding.

Best Part: The insightful observations of the musicians.

To touch the sounds of hope

[tomwhore · 10/10 · 16 July 1999]

Beyond the music of this film, of which there is a treasure trove of, there is an undercurrent of the hope beyond hope.

We see Cuba, torn apart after years of senseless revolution and senseless retaliation, filled with some amazing individuals who still strive for the brass ring of beauty. They are all older, having been thru the pre and post- revolutionary facets of their mother land, who where either quietly retired of slowly fading into the night. This film shows them revitalized, renewed and as vibrant as ever. Against the bleak backdrop of the spent and tattered Cuba they shine even more brightly.

The scenes in New York are perhaps most telling for me. Having been a new yorker for some 30 years now removed from there for the last two, I can see in thier eyes the wonder of a person seeing it for the first time. More amazing still is to see them come to grips with how far the world has come outside of their stifling motherland's revolution.

This is a must see for anyone who treasures music, beauty, and the hope that infuses both.

A flawed work from the master of humanist cinema (Major Spoiler)

[drew.macrae · 17 January 2000]

Don't get me wrong, Wim Wenders has made an excellent work in keeping with the bulk of his humanist work including Wings of Desire and Paris,Texas. With his use of spiralling cinematography, Wenders has given us a truly great insight into the work of magical musicians presented with respect and a love for the common language of music despite the ever present barriers of politics and, of course, language. However The Buena Vista Social Club has one fatal flaw. That flaw is the patronising presence of Ry Cooder. Ry has every right to be included in this work - he of course was able to get the social club together after years in the wilderness and was a driving force behind the film (he produced it). However what comes across in the scenes in which he is in, is an intense arrogance and total lack of modesty. What emerges seems to be purely for the enjoyment of himself and then others - not for the band members (whose enjoyment, while obvious, comes as a mere consequence of the main desire). Look at the scene on the boardwalk where he sways dreamily to the music. Have they gathered for their own enjoyment, our enjoyment or Ry Cooders. This patronising attitude towards the band members is reinforced by the structure of the film that ends in their Carnegie Hall experience. Why should it be suggested that the peak of their musical experience be playing to a crowd of chardonnay socialists and middle to upper class americans. Yes, I do get the symbolism of the band breaking down the wall created by the last 50 years of American-Cuban relations but the scene works on another level. Who are they playing for - themselves or a bunch of patronising Americans - who look upon these people as images, fitting nicely into their first world/third world views. Ultimately, the film begs the question - if a Cuban musician plays a note in a forest and there's no American around to record it and turn it into a consumer item, does it make a sound? Accordi

If you can find it, first watch the 2016 Criterion interview with Wim Wenders

[rooprect · 8/10 · 16 March 2020]

Criterion shot an interview with director Wim Wenders in 2016, and if you can find it, I highly recommend watching this BEFORE you watch the film. There's a 2 minute clip on youtube if you search for "Wim Wenders on Buena Vista Social Club's Ibrahim Ferrer".

This interview with Wim prepares you and gives you a deeper appreciation for what you're about to see. You'd still appreciate the film without any prep, but if like me, you're completely unfamiliar with the album, the musicians and the story behind this film, then hearing Wim's insights and anecdotes will really pique your interest.

"Buena Vista Social Club" is a documentary shot in Cuba showing the musicians, the culture and the images of Havana as they record the album of the same name. Interspersed between songs, which are generously shown without too many interruptions, are some charming, entertaining, funny and poetic stories told by the musicians themselves.

The reason I recommend the Wim interview is because he gives us context that is otherwise missing or just vaguely implied in the film. And that is: that these 80-odd-year-old musicians, talented as they are, are nobody. They never found success or wealth of any appreciable kind. As Wim explains in the interview, half the original band was supposed to fly in from Africa, but at the last minute they got detained in Paris. So Ry Cooder set about hastily recruiting the local talent to fill the void. That's when the magic happened, and THAT is the story of the film "Buena Vista Social Club".

Wim also explains one of the film's most noticeable "flaws", and that is the grainy, somewhat worn look that it has. It was shot on DigiBeta and MiniDV (back when these were top of the line) meaning 480p (DVD) quality. So although you may expect Havana to pop out of your screen with crisp vibrant colors that you can smell, what we get instead is a slightly archaic look. But this ended up working brilliantly because Wim is telling us a visual story of a bygone, forgotten, faded era. This is no photoshopped travel brochure. Although the scenes are gorgeous, we see clearly that the city is full of poverty, decay and thin layer of grime.

The first time I watched "Buena Vista Social Club" I was unimpressed because I didn't know who these people were, I didn't know why the story is so special, and I didn't like the worn look of the film. But if I had known beforehand that this is not meant to be a normal polished documentary, that it's a story of a bunch of shoeshine boys who can play the heck out of a song, I would've loved it immediately. The 2nd time I watched it (after seeing the Wim interview) I was hooked.

A NOTE ON THE CONTROVERSIAL APPEARANCE OF RY COODER: If you've read a bunch of reviews, you probably noticed that one of the big criticisms is that there's too much Ry Cooder. Honestly after reading a half dozen of these criticisms, I was expecting to see nothing less than Ry's colonoscopy splayed across the screen to the shrill cacophony of 13 slide guitars played at once in different keys. Haha, I'm happy to report that it's not as bad as that. In fact, maybe if you watch this film *expecting* to see too much Ry, then, like me, you'll be pleasantly surprised that it's not as bad as the warnings. Ry Cooder produced this album, and in musical terms that means he was the "director". The producer of a musical recording is the most powerful and characteristic force, artistically speaking (notice how many bands that are produced by the same person often sound so similar that you can't tell them apart, for example the bands AC/DC and the early work of Def Leppard, both produced by John Mutt Lange). Therefore, it makes artistic sense why Ry would have some decent screen time. Not only did he personally select all the band members, but he was right there at the mixing board putting everything together. So yeah, it may seem odd that this non-Cuban is crashing the guarachar. But just keep in mind that he was the guy who pulled this product together. And what a fantastic product it is.

Maybe with this stuff in mind, you'll also see the magic. "Buena Vista Social Club" isn't so much a documentary as it is a monument to all the great musicians and artists hiding out in all the obscure and decayed alleys in all the world. And for my money, this tells the story of music better than any glossy, overproduced biography of any pop star out there. Buena Vista Social Club is the real deal.

Get the wax out of your ears and learn salsa dancing.

[moth >i< · 18 April 2001]

Wim Wenders, the director with the slow 70's German movies, is exciting to film students because his older movies were so do-able. He likes to roll down the car windows and film whatever passes by. He's slightly more sophisticated about it than he used to be but you still see, feel and all but smell plenty of breathing, hard living, decaying Cuba in this film. The movie is about the making of a recording. It's a portrayal of the musicians and singers that Ry Cooder's son loves.

Buena Vista Social Club is rated G which gives it the inherent challenge of creating an interesting movie with no swearing (thanks to the subtitles), no violence and no visual sex.

The film opens with Fidel Castro at the Lincoln Memorial and a discussion of Che and Fidel playing golf. Como no, it's a Cuban movie.

Here is a chance to catch glimpses of Cuban women, infamous for liking their bodies in this time of Global shrinking standards. You should see the size of the cigar one of them is smoking. A large, firm-bodied woman walks by in a pink stretch cotton skinny strap dress. Now that's how to wear a pink dress.

As with all Cuban movies there are thrillingly decrepit settings of formerly glorious Havana architecture, but this film catches also some of the light and pleasing building interiors, colorful old cars and rooms that have been maintained.

Buena Vista Social Club is a wholesome contrast to Before Night Falls, which isn't to trivialize it. In some ways these are the lives of the winners, the artists who got to continue their work unimprisoned and untortured after the revolution.

Even so, the musicians grew up in the times when you had to make your own way in the world. One was playing in public at five years old and passing the hat to supplement the family income. One was pulled protesting from his shoe shine job into the studio to meet his fate as a musician. Most of them were lost to the music world for decades before the recording.

It's a really good model for doing your art just because you love to and you have to as you hold down a job and function in the real world.

A friend who won't watch movies with any violence points out that the old men in this one are so integrated they get to NY from Cuba and instead of being overwhelmed they like all the activity.

The feel is small scale, unpretentious, warm, highly skilled, happy and human. Everyone's eyes say someone is home. In spite of its slow pace the people in this movie convey something absolutely wonderful that's getting lost in a hurry. Aren't we glad someone caught it on film?

And the music? Well, listen to it. By the end you will appreciate popular dance music even if you didn't at the beginning. Even if you don't see the film you might want to check out the sound track. You will love it more though if you meet the people.

One of the best music documentaries ever made

[Andy - Cardiff · 9/10 · 18 September 2000]

This was an engrossing documentary which inspite of some minor directional pitfalls made great viewing. Some earlier contributors to this site criticise Ry Cooder's 'omnipresence' in the film, but if it wasn't for Cooder these musicians might have remained unheard of. In America, native Cuban musicians are not allowed to be paid for public performances.

Some of the camerawork is brilliant, especially the shots around Havana's backstreets from Cooder's motorcycle and sidecar. What comes across to me very strongly, and on a personal level, is how badly sanctions have affected Cuba, and also the resilience of everyday Cubans who are stuck with a rigid government and an opressive US sanctions policy, yet manage to survive and keep their dignity intact.

There are some great personal stories the 90 year old guitarist is wonderful and the songs are fantastic. If the film has drawn attention to Cuba's musical heritage that is a good thing and congratulations to Wim Wenders and Ry Cooder for bringing this brilliant music to the world. This film deserves to stand alongside Scorsese's 'The Last Waltz' as one of the best music documentaries ever made.

What do you expect?

[Zoby · 18 June 2000]

What do you expect when you go to see a movie entitled "Buena Vista Social Club", a documentary about the reunion of Cuban artists which had made some success in the first half of this century and hasn't got together ever since? The fact is: I was thrilled at the moment the film ended, despite any prior expectation of it.

This is not what I can call "my favorite kind of" movie, but I went to see it anyway. The idea of the movie appears to be superficial, but as the movie runs and the characters are shown, you start to get deeper in the story and to feel somewhat of what they felt before the event itself. Their world is another reality for us and you start to wonder how many of those men exist around us.

In the beginning, it is shown as if you were there and as the movie ends, you surprisingly find yourself feeling as if you actually were there and even clapping your hands! Definitely, I recommend this title to every one of you, including those with musical taste which doesn't embrace Cuban music - e.g. myself.

Revival of the Cuban Jazz sounds -- a Wender/Cooder musical documentary collaboration not to be missed!

[ruby_fff · 8/10 · 6 January 2000]

The two names Wim Wenders and Ry Cooder caught my eyes. I remember the two German names since their initial collaboration on "Paris, Texas" 1984 -- it was truly impressive!

This BUENA VISTA SOCIAL CLUB is a superlative documentary. Yet merely a documentary it is not. It captures the heart and soul of the lively Cuban Jazz sounds. It follows Ry Cooder and his son Joachim in search of the veteran Cuban musicians of the Buena Vista Social Club of the '50s -- now in their senior years, some 70's or 80's (Ruben Gonzalez, a terrific energetic pianist in spite of age), and one 92 year old (Compay Segundo, who does not look 90 at all and such a darn good guitarist he is). The subsequent reunion on musical recordings and concerts of this group of musicians after four decades emanates sheer joy nonpareil. It is sight and sound and a sense of humanity all rolled into one.

It is toe tapping all right -- you want to dance, sing, and sway with them to the rhythm! Such a heart-warming experience as each of the musicians talk about how they got started in their childhood and becoming passionate in their musical pursuit. The settings are easy, casual, touching, pulling our heartstrings. There are recounts of the times they had jammed with their bands and friends, of how they weathered and survived the years in between, revisits of the places they have been to, and impromptu throw out gems of their views on life! They are seemingly ordinary people. No Hollywood glamour yet lots of love and passion and exuberant joy in making music together -- again! Besides the revival of Cuban Jazz sounds, this film is also a celebration of life, affirming dreams can come true.

If you like music, if you love life, if you're a true movie fan, this is a MUST-SEE. A rewarding experience guaranteed!

Resurrection

[jotix100 · 7/10 · 29 April 2005]

Wim Wenders' documentary seems to have been made as a companion to the best selling CD. Ry Cooder was responsible for resurrecting these old Cuban musicians from oblivion. We saw this film in its debut day at the Angelika and remember the emotional response by many people in the audience as the documentary unfolded. Having seen the DVD recently, it brought back memories about that June day.

Actually, all praise has been directed at Mr. Cooder, who is the man who had the clout to bring this group into the attention of the world, first with the recording, and then with this film. However, no one gives credit to Juan de Marcos Gonzalez, the man responsible for getting all these forgotten musicians together. It's because this man's love for that type of music that one is able to appreciate the men one sees in the film.

The tremendously talented Cuban musicians are finally given the tribute they were due because their contribution to the kind of music that will always be heard because the way it resonates with the listener. As far as the document go, the Cooders, both Ry and Joaquin, are given a special treatment, but then again, without them, who would have even heard of the Buena Vista Social Club?: No one!

Ibrahim Ferrer, Eliades Ochoa, Ruben Gonzalez, Pio Leiva, Guajiro Mirabal, Compay Segundo, Cachaito Lopez, Omara Portuondo, and the rest of the players are shown with great respect by Mr. Wenders, who seems to be enjoying directing these all timers doing what they do best.

One can only cry for what the regime in that unhappy island did to this great musicians for such a long time until the powers that be in Cuba found out how much money they could make by exporting the same people they had chosen to forget.

Wonderful Music, but Questionable Filmmaking

[Dr.Mike · 6/10 · 12 August 1999]

The Buena Vista Social Club is filled with great music. It is the music of people's lives, and as they often say during the film, the musicians feel the music as well as play it. The way that others talk and think is the same way they create music. It is natural. The scenes of the musicians in concert are great and exciting.

The problem is that the director, Wim Wenders, chose to focus on things other than the music and the people who make it. His constantly spinning camera, while technically dazzling, serves no real purpose here. Sure, there are some wonderful shots that move long distances, but the story is in one place and needs no amplification. It is almost as though he thought we would be bored with the people and the sounds of the film. Nothing could be further from the truth.

The stories the musicians tell are engaging and funny. Their music is rich and timeless. Since it is a film about Cuba, one would expect some political overtones, but strangely there are not very many. Only at the end, when the musicians reach New York, does Wender's seem to interject his political views. The musicians are all awed by New York and the director allows them to degrade themselves by saying that ugly buildings are lovely. The irony-that if these men had been produced in New York there would never be any music at all-is lost on everyone. Also, the viewer may be left with the sense that they have been forgotten due to Castro and the revolution, but this is not really the case. All over the world and all around the USA artists are forgotten in their old age. Only in a nation that loves and understands art are artists given their proper place of respect. Cuba and the US both fail in this regard. And ultimately the film fails too. It misleads and it misdirects are attention and pulls us away from the enchanting music created by older musicians who rediscover life through expression.

Worth seeing for the characters and the music even if it could have been more

[bob the moo · 13 January 2005]

In a tribute to the spirit of Cuba and in reference to a dance hall that has long since gone, a group of elderly Cuban musicians to record an album together. Many of the musicians either left Cuba before Castro or were expelled or escaped once he took control. Each artist has a story to tell and they tell them while we follow the group perform a show and putting together their album, leading to the show at Carnegie Hall in New Yok on 1st July 1998.

Although it is not something I listen to a lot, I do quite like the beat and the rhythm of music from Cuba – it has a certain style to it that is unique to that country and it is very easy to listen to or to dance to. For this reason I decided to watch this film although I also had hopes that it would be interesting as a documentary of sorts as well. In one regard the film really works and has plenty of great music performed live by a variety of artists, some of whom I had heard of but the majority I had not. It is very easy to listen to and would almost work as background music if you doing something else. This is punctuated with contributions from the artists who are filmed walking around Cuba or sitting in their homes talking about themselves.

These bits tend to lack structure and are a bit lesser than I had hoped they would be. They were still interesting mainly because those involved seem to have a life experience behind them and are interesting just to listen to for a while. The problem for me was that, even as I was watching it, I felt that there were bigger stories behind them that would have acted well as a historical frame for the rest of the film and been for interest to the audience; although maybe the assumption was that anyone watching this film would already have a good working knowledge of Cuba. Despite that I didn't think that I had learned a great deal from the film even if I had been able to listen to a couple of the artists chatting and had been engaged by what they had been saying.

Overall this is a cool film that is worth seeing for the music and the chance to listen to some very pleasant and rather inspiring elderly characters who all seem to have the spirit of 20 year olds in them. It may annoy some that the film never really steps behind the stories to provide a bit of a historical frame for the audience – it would have made it better for me if it had but it was still worth seeing nonetheless.