Review by Dragan Antulov
2 stars out of 4
In the past decade many non-American or independent directors
came to Hollywood and thus allowed critics to observe an
interesting phenomenon. It seems that the quality of their work
decreases proportionally to their proximity to Hollywood
mainstream and large budgets. The most telling example of this
phenomenon could be found in the career of Robert Rodriguez. In
1992 he rose to fame with EL MARIACHI, debut film made with
incredibly low budget of 7000 US$. Three years later, while
shooting DESPERADO for Columbia Pictures, he had thousand
times larger budget at his disposal.
DESPERADO has the same title protagonist as Rodriguez's first
film. El Mariachi (played by Antonio Banderas) is former musician
turned vigilante after having his lover killed and his hand
disfigured by drug dealers. Now he carries guns in his guitar case
and roams around Northern Mexico killing drug lords and their
henchmen, becoming some sort of urban legend in the process.
His latest target is cruel Bucho (played by Joaquin de Almeida)
and in his struggle he receives help from an American friend
Buscemi (played by Steven Buscemi). Yet the most important
assistance would be Caroline (played by Selma Hayek), beautiful
bookstore owner whose shop is actually a drop station in Bucho's
drug-trafficking scheme.
Without having to worry about mundane little things like budget
any more, Rodriguez approached DESPERADO with the
enthusiasm of a child in the candy store. This enthusiasm is
reflected in large amount of pyrotechnics and legions of stuntmen
employed in numerous scenes of bloody shootouts. Those scenes
are directed with great deal of talent and in many ways they pay
homage to the work of action-oriented directors like Sergio Leone,
Sam Peckinpah and John Woo. But the most notable difference
between two films is in casting. This time Rodriguez didn't have to
work with unknowns and amateurs - characters are played by
respected actors and rising Hollywood stars. Popular Mexican
actress Selma Hayek appears in her first major Hollywood role
(best remembered for rather steamy love-making scene), while
Rodriguez uses casting as an opportunity to pay homage to
Quentin Tarantino, man who was, like himself, promising director
of 1990s - Quentin Tarantino. Tarantino appears in small (and
rather annoying cameo), while Tarantino's actor Steve Buscemi
(whose character was written specifically with him in mind) plays
somewhat larger role.
However, the same larger budget, while making DESPERADO
more spectacular than EL MARIACHI, also shows some flaws of
Rodriguez as filmmaker and the unavoidable comparisons
between two titles would probably be in favour of earlier film. The
most noticeable difference between two films is in casting of
protagonist. Spanish actor Antonio Banderas in his first major
Hollywood role is undoubtedly better actor and possesses more
charisma than Carlos Gallardo (who appears in small cameo as El
Mariachi's right hand man) yet his presence alone is enough to
destroy the magic. With Gallardo viewers could have sympathised
with El Mariachi because he looked like an ordinary man.
Banderas, under the tone of make-up, simply can't be taken
seriously. The script, which used the weakest segment of EL
MARIACHI, is even weaker now. Rodriguez simply didn't make up
his mind whether to shoot remake or sequel to EL MARIACHI.
Many characters and situations are repetitive and the film is
overlong, and at times even boring. However, DESPERADO has
enough black Tarantinoesque humour and superb action to be
quite entertaining experience.
Copyright © 2002 Dragan Antulov
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