Sayles’ film assails infant trade

RAY BUFFER

Shot in Acapulco, but set in a nameless South American country that

resembles Guatemala, director/screenwriter John Sayles’ new film

about international adoption, “Casa De Los Babys,” beckons for

post-film discussion and debate. The story is about six white

American women who have decided to adopt infants from a third world

country. They must maintain residence there for a lengthy period of

time in order to qualify. With this in mind, we first meet these

ladies several weeks after their arrival.

Nan (Marcia Gay Harding) is a self absorbed, immature,

shoplifting, insult machine. Her bullying, crude, mean banter lifts

her into focus above the other five characters as she asserts

authority. Having focused on her career earlier in life, she now is

infertile and whatever the reason, she distracts from her own

feelings of inadequacy by deriding others. Skipper (Daryl Hannah) is

obsessed with exercise. So much so that it may have been the cause of

her numerous miscarriages. Gayle (Mary Steenburgen) is a

post-menopausal, alcoholic, born-again Christian who seems to believe

motherhood will fix the things that are wrong with her life. Eileen

(Susan Lynch) has a deep heartfelt desire to adopt and become a

mother despite limited financial means. Jennifer (Maggie Gyllenhaal),

the youngest and richest of the ensemble, who after having tried

every conception procedure, turns to international adoption to

restore her self confidence. Leslie (Lili Taylor) is Jewish and a

strident New Yorker who is uninterested in being bogged down with

male relationships, and pregnancy; she just wants a baby. All of

these estrogen-filled ingredients are placed in a hotel, and allowed

to slow-cook for 95 minutes of movie time.

The international adoption industry workings are showcased when we

meet Senora Munoz (Rita Moreno), the landlady of the hotel where

these prospective mothers stay in wait for their children who are to

be delivered to them by Munoz’s brother (Pedro Armendariz Jr.) an

adoption attorney.

Sayles also serves up for us the street youth who rely on cunning

and roguishness in order to survive as the un-adopted. The director

makes it abundantly clear that the six American woman are not

visiting to help the youth of this South American country, but rather

to quench their own thirst for an infant “to go.”

We immediately see the discord and petty rivalry of these women

and the hoops they are forced to jump through by the local

government. One can’t help but think, however, that despite their

protests, and by comparison, it seems to be an easier and shorter

road than the one traveled by mothers who carry a child for nine

months. The conflict is generated by each mother’s impatience; their

desire to be the first one in their gaggle to obtain a baby. Sayles

uses this character study to touch upon the issues of consumption,

consumerism and supply and demand.

Through the course of the film Sayles shows us the altruistic side

of these women as well as the cutthroat. He also shows us the

similarities and differences with how adoption impacts both cultures,

and all participants. A particularly poignant scene between Eileen

and the Asuncion (Vanessa Martinez) highlights the great divide when

these two women from two cultures expound to one another the values

of motherhood. Despite the fact that they do not “comprehend” one

another they do understand each other.

Diomedes (Bruno Bichir) a tour guide desperate for the liberty of

the United States, gambles the lottery with what little money he has.

Sayles uses this character to set up the concept that so much of what

happens in the film is governed by randomness. Sayles assails us with

the concept that “luck” is the determining factor about whether the

orphans of this South American town grow up alone on the streets of

their own soil, or are converted into a new American family. The

director does not cast judgment about which would be better, but

leaves that decision to the audience. The film ends as one of the

mothers-in-waiting, makes it to the finish line and is granted the

first available child. The deciding factor in this matter also seems

to be one of chance. Just like a lottery.

On the face of it, this film may not seem to be for everyone. The

foreign title and the difficulty in finding theaters in which it is

playing, may turn away some, but don’t let it. Though this is not

Sayles’ finest work it deserves to be experienced for the standout

performances by Hannah, Harding and Martinez and the information you

may learn regarding a social issue that demands greater public

attention.

* RAY BUFFER, 34, is a professional singer, actor and voice-over

artist.

The Rock is the

new action star

Hollywood has been trying to find the next big action star for

nearly a decade. The former champions of this genre, Arnold

Schwarzenegger and Sylvester Stallone, are both in their mid-50s and

their most recent efforts have produced mediocre box office receipts.

Now being hyped as the latest heir apparent is the Rock (Dwayne

Johnson). The professional wrestler was considered a novelty when he

was cast in the nonspeaking role of Mahtayus, “The Scorpion King” and

“The Mummy Returns.” To the surprise of many, the Rock displayed

enough on-screen charisma to earn him a starring role in 2002’s “The

Scorpion King” which grossed over $90 million in the United States

alone.

In his latest film “The Rundown,” he plays Beck, a bounty hunter

extraordinaire. In the opening scene he gains entry to a private club

in order to collect a gambling debt from a Super Bowl winning

quarterback. Walking by him in the hall as he enters is

Schwarzenegger himself who says, “Have fun,” perhaps symbolically

passing the action star torch.

Beck scans the bar and soon realizes the quarterback is there with

his entire defensive line. Beck calls the loan shark he’s working for

to ask if he can take care of the matter another time. Indicative of

the film’s sense of humor, Beck is not scared by the NFL monsters; he

simply doesn’t want to spoil their chance to repeat as Super Bowl

champions. The ensuing melee sets the stage for the numerous

well-choreographed action scenes to follow.

Beck is an aspiring restaurateur and can’t refuse the $250,000 fee

he will collect if he is able to fetch a gangster’s son from the

Brazilian rainforest. The son, Travis (Seann William Scott), has run

afoul of the local bad guy Hatcher (Christopher Walken). Hatcher has

basically enslaved the locals to work in his incredibly

environmentally unfriendly goldmine. Throw in some faceless goons,

jungle rebels and amorous baboons and you’ve got yourself an action

film.

So, how does the Rock acquit himself in his first “non-Mummy”

starring role? Very well, thank you. The Rock has a commanding

presence on screen and demonstrates a flair for tongue-in-cheek

comedy. The fighting scenes are helped immensely by The Rock’s

athleticism honed by his years as a professional football player and

wrestler. It is clear he performs many of his own stunts.

Walken is effectively creepy and surprisingly funny as Hatcher.

One hilarious scene occurs when one of his henchmen is asked to

translate Hatcher’s tooth fairy metaphor with spectacularly

unsuccessful results. Scott plays a variation of his “American Pie”

Stifler role as Travis, which is often funny and effective overall.

Hawaii substitutes well for Brazil and the jungle is atmospherically

dark and steamy.

Based on his performance here, the Rock has the self-depreciating

style of Bruce Willis, and although clearly taller than both men,

displays a physical presence akin to Stallone and Schwarzenegger in

their younger days. If he can latch onto decent scripts such as this

one, the Rock can hang up his wrestling tights permanently.

* VAN NOVACK, 50, is the director of institutional research at Cal

State Long Beach and lives in Huntington Beach with his wife

Elizabeth.

‘Tuscan Sun’

stands on its own

Derek: “Under the Tuscan Sun” with Diane Lane was definitely not

made for anyone in my demographic. Nonetheless, I found myself

enjoying this airy Oprah-esque, self-help-type romance. One thing I

found delightfully un-typical and refreshing about “Under the Tuscan

Sun” is that you do not meet the man of Frances’s (Diane Lane) dreams

until one of the last scenes of the movies. Also, all of the

analogies and metaphors introduced throughout the movie come back at

some point, which kept me interested. For example, Lindsay Duncan’s

character, Katherine, tells a story about a ladybug, which at the

time of the telling seems to be the ramblings of a drunk

ex-socialite, but the story of the ladybug comes back to be the theme

of the movie in the end. If I were to make one complaint about this

movie, it would be that it sags quite a bit in the middle. However,

the saggy middle is fully redeemed by the endearing and uplifting

ending.

Sean: “Under the Tuscan Sun” didn’t have much of a plot, but I

enjoyed the movie anyway. Diane Lane made Frances a well-rounded,

likable and sympathetic character who was a very good person.

The movie would have been better if it was more like the book by

Frances Mayes on which it was based. In the book, an American couple,

not a divorcee, purchased a home in Italy. I didn’t like the fact,

and thought it unnecessary, that in the movie the plot was based on a

divorce. The divorce enabled the movie to add a romantic edge but

that’s a dumb idea.

I did especially liked the Polish contractors. When Frances

finally finished renovating her house it didn’t have the sparkle or

finish that you would want it to have, but I like that she had made

friends and had a happy life.

Teri: The only similarity “Under the Tuscan Sun” has to the book

by Frances Mayes on which it is based is that an expatriated American

purchases and renovates a home in Tuscany with the help of Polish

immigrants. That, however, shouldn’t deter you from seeing the movie,

which is a wonderful story that stands by itself.

The film is lush and the scenes edible. Diane Lane is incredibly

sexy, vulnerable and heart wrenching as Frances who struggles to find

her life and community again after divorce. Sandra Oh steals scenes

playing Frances’ pregnant, lesbian, advice giving, best friend. At

some point in every woman’s life, she has the fantasy of running away

from the humdrum of her current existence and beginning anew in a

better place. This movie successfully, with humor and thoughtfulness

explores that fantasy and delighted of the applauding theater goers I

viewed it with.

* SEAN RUHLAND, 14, is a freshman at Huntington Beach High School,

DEREK RUHLAND, 16, is a junior at Huntington Beach High School, and

TERI SIMONIS, 43, is an office assistant for the city of Huntington

Beach.