Uxbal, single father of two children, finds his life in chaos as he is forced to deal with his life in order to escape the heat of crime in underground Barcelona, to break with the love for the divorced, manic depressive, abusive mother of his children and to regain spiritual insight in his life as he is diagnosed with terminal cancer.Written by
During an interview with The Telegraph, Alejandro González Iñárritu quoted from "On Myth", which was the beginning of the film, by the Mexican poet Jaime Sabines: 'Someone spoke to me all the days of my life, / into my ear, slowly, taking their time. / Said to me: live, live, live! / It was death'. See more »
In the scene with the three dead boys, as people are filing out while Uxbal stands at the door, the foot visible in the coffin nearest the door moves. See more »
Look in my eyes. Look at my face. Remember me, please. Don't forget me, Ana. Don't forget me, my love, please.
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Biutiful is a departure and a confirmation for Mexican director Alejandro Gonzalez Inarritu: on the one hand, it is another study of lives gone awry, with no punches pulled in regards to the misery experienced by the characters; on the other, it's the first film he's made he parted ways with screenwriter Guillermo Arriaga, who preferred to move on to other projects after Babel. Biutiful proves two things: firstly, Inarritu remains very good at constructing memorable images; secondly, these aren't worth quite as much without Arriaga's words.
Set in Barcelona, the film ditches the filmmaker's traditional fragmented, multi-character narrative, focusing solely on one imposing figure: Uxbal (Javier Bardem), a man who has to deal with his own imminent death from cancer, a dire relationship with his family (wife, kids and brother), his ties to local criminal activities and, more generally, the ugliness he sees every day walking down the streets. Surely the (intentionally misspelled) title must be ironic.
Working on the script himself, Inarritu goes for a simpler story, but doesn't renounce his penchant for harrowing material. In fact, Biutiful is undoubtedly the least cheerful film he's directed to this day, and that's saying something. His depiction of a gray, ugly Barcelona is faultless, exposing the city's seedy underbelly and disease (both physical and spiritual) with genuine, relentless storytelling passion. However, this is also detrimental to the film's impact: without Arriaga's more experienced take on the subject, the director doesn't know when to stop, throwing in one tragedy after another for the best part of the movie's 148 minutes, with no pause for breathing. It's almost too bleak, too tragic, to fully convince as a drama.
Does this mean all the praise Inarritu has received in the past was premature? Not really. Even his detractors usually acknowledge his talent with actors, and in this case, perhaps being aware of the script's shortcomings, he has hit the jackpot: from start to finish, Bardem is a revelation, justly awarded with the Best Actor prize in Cannes. Sure, he's always been a gifted thespian, and no stranger to difficult parts (see The Sea Inside), but here he's really in a class of his own. Communicating with his sad, tired eyes rather than his broken voice, he carries the whole picture with a stoic dignity that is always gripping and heartbreaking.
While easy to mock and criticize, Biutiful, for all its flaws, warrants at least one viewing on the grounds that it proves beyond doubt that sometimes a truly astounding performance can save an otherwise mediocre film.
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