Writer/actor/director Ramón Salazar ('Amnèsia', 'Piedras') is becoming a formidable presence on the Spanish cinema scene. He takes risks, he knows he takes them, and he makes them turn out in his favor. '20 Centimeters' is a mix of a story that is part hilarious musical comedy and part sensitive character portrayal of people who live just outside the edge of what is cruelly called 'normal': the mix makes for a jolly fluffy cake that smacks of Salazar's predecessors Almodóvar and Fellini.
Marieta (the enormously talented Mónica Cervera) is a work in progress: she dresses as a woman, has breast implants, is on painful steroid injections, but still retains the 20 centimeter remnant that prevents her from becoming the totally feminine woman she desires. She has a heart of gold, works the streets as a prostitute with special gifts to earn money for her transgender surgery. But at home she shares an apartment with a dwarf Tomás (the very handsome and talented Miguel O'Dogherty) who squanders Marieta's money on ticket scams that don't work, cares for her friend Berta's (Concha Galán) son, and provides emotional support to her fellow sex workers. She has a major problem: she has narcolepsy and falls asleep for several hours at a time in the most inappropriate places (!) and during these sleep periods dreams of Broadway musical numbers occur in which she is the singing (in Spanish, French and English) and dancing star with a cast of hundreds in the wildest of costumes! Marieta yearns for love and when she notices on Raul (the very hunky and talented Pablo Puyol) she feels she is in love, especially when Raul returns her attention, takes her home to meet his rather low class gross parents and family, and most importantly physically falls in love with her - AND her 20 centimeter unwanted obstruction to happiness. How Marieta comes to grips with her focal surgical dream versus her chance for love is the tender way the film concludes.
Mónica Cervera carries this very difficult role extremely well, not only allowing us to see the inner suffering being she truly is but also popping the cork off the champagne bottle of musical production numbers that pepper this fun movie. The cast is uniformly fine (Pilar Bardem, the mother of superstar Javier Bardem, has a fine little cameo role) and the direction show that Ramón Salazar has tight reins on his talent. This is a film that is bawdy fun without ever spilling over into the realm of bad taste. Watching it is a toe-tapping good time! Grady Harp
Marieta (the enormously talented Mónica Cervera) is a work in progress: she dresses as a woman, has breast implants, is on painful steroid injections, but still retains the 20 centimeter remnant that prevents her from becoming the totally feminine woman she desires. She has a heart of gold, works the streets as a prostitute with special gifts to earn money for her transgender surgery. But at home she shares an apartment with a dwarf Tomás (the very handsome and talented Miguel O'Dogherty) who squanders Marieta's money on ticket scams that don't work, cares for her friend Berta's (Concha Galán) son, and provides emotional support to her fellow sex workers. She has a major problem: she has narcolepsy and falls asleep for several hours at a time in the most inappropriate places (!) and during these sleep periods dreams of Broadway musical numbers occur in which she is the singing (in Spanish, French and English) and dancing star with a cast of hundreds in the wildest of costumes! Marieta yearns for love and when she notices on Raul (the very hunky and talented Pablo Puyol) she feels she is in love, especially when Raul returns her attention, takes her home to meet his rather low class gross parents and family, and most importantly physically falls in love with her - AND her 20 centimeter unwanted obstruction to happiness. How Marieta comes to grips with her focal surgical dream versus her chance for love is the tender way the film concludes.
Mónica Cervera carries this very difficult role extremely well, not only allowing us to see the inner suffering being she truly is but also popping the cork off the champagne bottle of musical production numbers that pepper this fun movie. The cast is uniformly fine (Pilar Bardem, the mother of superstar Javier Bardem, has a fine little cameo role) and the direction show that Ramón Salazar has tight reins on his talent. This is a film that is bawdy fun without ever spilling over into the realm of bad taste. Watching it is a toe-tapping good time! Grady Harp