As A KING AND HIS MOVIE opens, there is mass hysteria. A giant film is in its preproduction phase. The director, Chaves, is busy making decisions about casting, costume design, catering, and other issues. Even the local media are hounding him for information about his great project. At
this point Chaves' biggest problem is finding the right actor to portray the lead, a crazy Frenchman intent on becoming king of Patagonia. When none of the actors screen tested appears to fill the bill, the director hits the streets to find the right man. He spots a long-haired hippie selling
trinkets at a carnival. Chaves and his producer try to corner this man, who--mistaking the two for police--shaves his head to disguise himself. Eventually the hippie agrees to take the role, and the crew is set to travel to Southern Argentina to commence shooting. The financial backer withdraws
his money at the last moment and flees to Europe. Instead of postponing the shoot, Chaves insists upon continuing. Unable to pay the actors, he is forced to use people he finds on the streets, cutting the crew to the most essential members. Traveling by train and then in an old, decrepit bus, the
small group eventually reaches its destination. They have no money for hotel accommodations, but an orphanage gives them room and board until one of the actors is accused by a priest of indecent behavior. Forced to sleep in tents, some crew members decide this is too much and leave. Rapidly
dwindling funds and problems with the local population cause more dissension, and more of Chaves' cast and crew depart. Eventually only Chaves and his loyal producer, Dumont, remain. Not even at this point does the obsessive Chaves retreat; donning the wardrobe of the king, he plays the part
himself, using mannequins in place of real people for the other roles. In a surreal and immensely beautiful scene, Chaves rides past the dummies as smoke rises from the ground. Because of the smoke, the local police accuse Chaves of arson. He is thrown in jail but is released on the condition that
he never return. On the train ride home, the depressed Chaves' spirits lift when the idea of a new film pops into his head
Winner of the Silver Lion for First Film at the Venice Film Festival, as well as the Grand Prix at the Biarritz Festival of Iberian and Latin American Films, A KING AND HIS MOVIE is one of the finest movies about movies ever made. It ranks with Fellini's 8 1/2 and Truffaut's DAY FOR NIGHT.
Although some of the comic situations appear a bit forced, the general atmosphere is effectively and surprisingly realistic. As the film within a film heads toward complete failure, the accompanying hopelessness--with a touch of driving faith and then ultimate defeat--is also felt. Director Sorin
put his knowledge gained as a cinematographer to good use, framing the landscape shots dynamically, adjusting them to the ever-changing mood of the film. All in all, A KING AND HIS MOVIE is a superior first effort. (In Spanish; English subtitles.) leave a comment
