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Storyline:
The week of his 18th birthday, Bennie, who's a waiter on a cruise ship, has a layover in Buenos Aires. He seeks out his older brother, Tetro, whom he hasn't seen in years. Tetro, who lives with Miranda, is a burned-out case; he's hot and cold toward his brother, introducing him as a "friend," refusing to talk about their family, telling Bennie not to tell Miranda who their father is. Thoughts of their father cast a shadow over both brothers. Who is he, and what past has Tetro left behind? Bennie finds pages of Tetro's unfinished novel, and he pushes both to know his own history and to become a part of his brother's life again. What can come of Bennie's pushing?
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Comments
Rich S
This story should have been told as an Opera not as a film. It failed as a filmed opera because the moral fiber of nearly all of the characters was indistinct; one felt that he/she shouldn't really like most of them at all and it was easy to adopt a largely indifferent attitude to their "plight". In a staged opera that would have been transcended in the way that is typical for Grand Opera [ie hyper dramatized characters]. This movie was at once surreal, self absorbed, grandiose, Catholic, and kinda derivative. Marlon Brando envy strikes a chord here. Nice choreopgraphy and well conceived use of music. Weird camera angles sometimes. Crazy Dadaist-like theatre scenes that are typical of post-modernist France but I wonder about Buenos Aries. If you dig Coppola you'll probably like this flick, I suspect that I just didn't get it [like I didn't really get Coppola's Viet Namized version of Heart of Darkness]. The "edge of madness" themes of Coppola are becoming somewhat tired.
This story should have been told as an Opera not as a film. It failed as a filmed opera because the moral fiber of nearly all of the characters was indistinct; one felt that he/she shouldn't really like most of them at all and it was easy to adopt a largely indifferent attitude to their "plight". In a staged opera that would have been transcended in the way that is typical for Grand Opera [ie hyper dramatized characters]. This movie was at once surreal, self absorbed, grandiose, Catholic, and kinda derivative. Marlon Brando envy strikes a chord here. Nice choreopgraphy and well conceived use of music. Weird camera angles sometimes. Crazy Dadaist-like theatre scenes that are typical of post-modernist France but I wonder about Buenos Aries. If you dig Coppola you'll probably like this flick, I suspect that I just didn't get it [like I didn't really get Coppola's Viet Namized version of Heart of Darkness]. The "edge of madness" themes of Coppola are becoming somewhat tired.