reviewed by: Charity Bishop

        

At some point or another, I think one and all has heard of Evita Pern, whether it be through the grapevine in reference to the real person or in accordance with the Academy Award-winning musical starring Madonna, Jonathan Pryce, and Antonio Banderas. Then there is the memorable "Don't cry for me Argentina... the truth is, I never let you! All through my wild years, my mere existence, you kept your promise... don't keep your distance..." sung in Madonna's utterly divine vocals. The film opens somewhat like Lawrence of Arabia at the funereal of Evita, who has died prematurely of a cancer. The year is 1952, and the nation's grieving is unmatched. Films are halted midway through to the announcement, "I deeply regret to inform you, ladies and gentlemen, that Evita Pern is dead," to which violent sobbing is heard. Deeply shocked, Argentina mourns the death of this once-singer, once-actress who captured the heart of their president and became a beloved icon for their people.

As told by the somewhat skeptical and often ironic story-teller, Che, Evita and her brothers and sisters were born from an adulterous relationship, their mother penniless, their father wealthy and unhappily married. At the age of seven, her father dies, leaving the family disgraced and without means of support. Evita (Madonna) strikes out on her own to make her fortune, hooks up with a half-rate singer, and moves to Buenos Aires, where her vocal talents and beauty swiftly glean her the attention of bigger fish. Although unable to act, she moves in illustrious circles and becomes an esteemed motion-picture actress. Flitting from man to man, abandoning one in favor of the next of a higher class or more to offer, Evita then becomes acquainted with rising politician Juan Pern (Jonathan Pryce). Despite the opposition of the public and Establishment, their relationship eventually ends in marriage, after Evita narrowly saves her husband from death during the revolt.

Determined to help push her husband's popularity in his rise to power, she embarks on her famous Rainbow Tour through Europe... but something will bring her home. Although much of the real Evita's life is still shrouded in mystery, the film does an excellent job of convincing us that this is how it truly was. Madonna comes across as such a strong lead that she easily persuades the viewer to like her despite her flaws (and of those, there are many!). Her gorgeous voice, beautiful face, and memorable dance and musical scenes make the film almost worth it. But being brought up in an anti-Madonna household as I was, she was not the main draw... nor even a monitoring factor when all was said and done.  The first flaw is that the film is a two-hour music video. Lines are sung rather than spoken, when the alternative might have made an even more compelling -- and believable -- production. There are dance scores galore, too many songs to count, and moments of pure absurdity that leave one scratching their head and wondering why that was put there.

From a purely objective point of view, the film has many flaws when viewed through the eyes of one seeking out good entertainment. Evita begins her upward clime in power at the age of fifteen when she moves in with a singer she meets in Buenos Aires. Shortly thereafter she moves in with someone else, dumps him, finds another boyfriend, sleeps with him, dumps him, and repeats the process numerous times. This is all taken care of within the time limit of one song, in which all we really see is Evita leading various men into her rooms and tossing them out the next morning. One man is expelled zipping his pants. Later she takes the politician whom she will one day marry to her bedroom and they dance and kiss. A photographer early in her life slides the strap of her dress down and kisses her shoulder.  Various profanities crop up in the two hours, none especially memorable, some in the form of song lyrics. (Some call her a "bitch" and "whore" while singing about her less-than-agreeable tendencies. One song -- essentially the one in which she accepts and rejects her numerous lovers -- includes a profane hand gesture that is a physical rather than verbal abuse of the f-word.)

In a way, Evita is almost disconcerting in the fact that the woman was so highly praised and worshiped by her people. It brings to mind the death of Princess Diana, and the flocks of Englishmen and women who adored her. Neither were perfect, but both are remembered. The film has a fantastic score (what less would you expect from the composer of The Phantom of the Opera?) but is at times confusing and aside from the moral problems it offers, is dull. There is a spark between Madonna and Jonathan Pryce, and also at times with Banderas, but even excellent acting cannot quite save this film from the bottom line of a simplistic and sometimes obscurely MTV Hollywood musical in a world where drama reigns... and musicals are a thing of the past.