“Fermina”, he said, “I have waited for this opportunity for more than a half century, to repeat to you once again my vow of eternal fidelity and everlasting love.”
- Florentino Ariza
Last year, I gave Gabriel Garcia Marquez’s “Love In The Time of Cholera (1988)” a 5-star, mesmerized as I was with GGM’s storytelling and Florentino Ariza’s vow of eternal fidelity and undying love 622 affairs, 51 years, 9 months, and 4 days after he first declared his love to Fermina Daza.
I generally have a minor case of suspicion every time a movie is announced based on a book I thoroughly enjoyed (I was indifferent when it was bannered that “The Devil Wears Prada” was going to be made into a movie) as I get preternaturally agitated when the producers/screenwriters/actors leave out details which I believe are essential in the story’s development. I, however, still wait with bated breath and troop to the theatre hoping against hope that my fears remain in the realm of imagination.
And so, self-righteous reader that I am, I get this silly grin on my face when I see a movie wherein the scenes amazingly spring to life directly from the author’s pen (Lord of the Rings, Harry Potter). What I am not prepared for is when the film is faithful to the author’s narration but gives an entirely new flavour to the entire story.
Such is Ronald Harwood’s/Mike Newell’s take on Love In the Time of Cholera. Instead of GGM’s romantic and vulnerable Florentino Ariza (Javier Bardem), Bardem’s character lends it such pathetic and creepy air that we can verily well understand why Fermina Daza (Giovanna Mezzogiorno) spurned this lover in her youth and married the urbane Dr. Juvenal Urbino (Benjamin Bratt). In fact, we even wonder how Fermina could even entertain thoughts of Florentino who chose to remain in the same town where the couple lived, wearing a puppy-dog look, forever keeping tabs on Fermina’s whereabouts, and having dalliances with a myriad women like sex was going to expire from the shelves. And carrying on with a minor to whom he was related, albeit distantly? A heinous crime.
When Dr. Urbino suddenly dies and Bardem’s Florentino springs to life, we are filled with dread rather than anticipation. We actually silently cringe when Fermina Daza and Florentino Ariza sets on a cruise. When the flag is hoisted signalling that cholera has reached the ship, we mutter, “told you so”.
I am sure I do not like this version but am giving it a 4-star because it was able to imbue GGM’s work with a totally unexpected twist and it now gives me pause regarding people who have the stamina to wait 51 years, 9 months, and 4 days to be able to declare their love anew.
- Florentino Ariza
Last year, I gave Gabriel Garcia Marquez’s “Love In The Time of Cholera (1988)” a 5-star, mesmerized as I was with GGM’s storytelling and Florentino Ariza’s vow of eternal fidelity and undying love 622 affairs, 51 years, 9 months, and 4 days after he first declared his love to Fermina Daza.
I generally have a minor case of suspicion every time a movie is announced based on a book I thoroughly enjoyed (I was indifferent when it was bannered that “The Devil Wears Prada” was going to be made into a movie) as I get preternaturally agitated when the producers/screenwriters/actors leave out details which I believe are essential in the story’s development. I, however, still wait with bated breath and troop to the theatre hoping against hope that my fears remain in the realm of imagination.
And so, self-righteous reader that I am, I get this silly grin on my face when I see a movie wherein the scenes amazingly spring to life directly from the author’s pen (Lord of the Rings, Harry Potter). What I am not prepared for is when the film is faithful to the author’s narration but gives an entirely new flavour to the entire story.
Such is Ronald Harwood’s/Mike Newell’s take on Love In the Time of Cholera. Instead of GGM’s romantic and vulnerable Florentino Ariza (Javier Bardem), Bardem’s character lends it such pathetic and creepy air that we can verily well understand why Fermina Daza (Giovanna Mezzogiorno) spurned this lover in her youth and married the urbane Dr. Juvenal Urbino (Benjamin Bratt). In fact, we even wonder how Fermina could even entertain thoughts of Florentino who chose to remain in the same town where the couple lived, wearing a puppy-dog look, forever keeping tabs on Fermina’s whereabouts, and having dalliances with a myriad women like sex was going to expire from the shelves. And carrying on with a minor to whom he was related, albeit distantly? A heinous crime.
When Dr. Urbino suddenly dies and Bardem’s Florentino springs to life, we are filled with dread rather than anticipation. We actually silently cringe when Fermina Daza and Florentino Ariza sets on a cruise. When the flag is hoisted signalling that cholera has reached the ship, we mutter, “told you so”.
I am sure I do not like this version but am giving it a 4-star because it was able to imbue GGM’s work with a totally unexpected twist and it now gives me pause regarding people who have the stamina to wait 51 years, 9 months, and 4 days to be able to declare their love anew.
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