Alan Jonsson Gavica
(left)
Morenita is a small film in some respects (not grand or sweeping at all) but, in the framework chosen by skilled director Alan Jonsson Gavica, resonates with a certain truth.
In a nutshell, the foreign film is about a Mexican laborer down-on-his luck, who agrees to act as a runner for a drug dealer (his brother) to make ends meet.
When the nefarious activities go awry, the desperate young man - soon-to-be a father - uses a contact to commit an unthinkable crime.
What follows is a Nation's grieving and a no holds-barred struggle between good and evil to restore the nature order of things.
Mr. Gavica is an engaging man who flew in from Mexico to participate in a Q & A at the premiere of his action/adventure piece at AFI Dallas the end of last week.
As we chatted each other up on the shuttle bus to the venue in the West Village (the Magnolia Theatre) where the low-budget independent was being unveiled, it was evident that the articulate auteur was quite knowledgeable about the art of filmmaking.
He confessed that on occasion, in order to get the footage he needed, it was necessary to tell a "white lie" or two.
For example, the image of the Virgin Mary at the Basilica, was an integral part of the plot line for "Morenita".
However, the priests at the Holy site rarely ever permitted filmmakers - even tourists - to photograph the revered image of the Virgin Mary.
So, Mr. Gavica and his producer quickly conjured up a tall tale, to appease the powers-that-be.
"We're shooting a documentary on the Virgin Mary and the Catholic Faith," he earnestly asserted to Church Officials.
On this false premise, Gavica was able to gain access to a location needed to wrap the project.
Would he burn in hell for pulling the fast one?
"They'll probably find out," he grinned sheepishly.
"You betcha! 'Cause I'm going to report it in my post on the film," I laughed maniacally.
In the final analysis, though, Gravica doubted they'd denounce him or "Morenita" publicly.
"They don't want to give us the publicity."
As to the film itself - personally - I found Gravica's occasional "light touch" at the helm refreshing.
For instance, subtle flourishes here and there resonated strongly with my artistic sensibilities on occasion, when least expected.
And, likewise, I was jolted emotionally when Gavica switched into high gear and splattered the screen with gritty realism essential to plot twists that happened along unexpectedly about half-way through.
A main story line which focused on police corruption in Mexico also rang true in view of recent news reports filtering out of that troubled nation in recent days about the widespread graft.
While not Oscar material, "Morenita" is entertaining bill-of-fare offered up in Spanish with English sub-titles.
Although Morenita will definitely cash in below the border, film buffs may find the feature worth taking a gander at, too, on U.S. soil.
