Boxoffice-September.1997
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mm.<br />
REVIEWS<br />
task. From the moment Steve meets Monica,<br />
the pair's attraction seems genuine, and<br />
both characters conduct themselves like<br />
real people, even when their dialogue suggests<br />
acting more than living. This New<br />
Regency acquisition is a good movie, but it<br />
doesn't have enough zingy lines or story<br />
innovations to rise above the level of prototypical<br />
romantic comedy. Steve and Monica<br />
can't live with or without each other, but<br />
moviegoers in search of chuckles and romantic<br />
insight can take or leave this<br />
cinematic coupling. Ian Hodder<br />
THE DISAPPEARANCE OF<br />
GARCIA LORCA ^^1/2<br />
Starring Andy Garcia,<br />
Esai Morales,<br />
Jeroen Krabbe, Marcela Walerstein,<br />
Giancarlo Giannini and Edward James<br />
Olmos. Directed by Marcos Zurinaga.<br />
Written by Marcos Zurinaga & Juan Antonio<br />
Ramos and Neil Cohen. Produced by<br />
Marcos Zurinaga, Moctesuma Esparza<br />
and Robert Katz. A Sony Pictures release.<br />
Drama. Rated Rfor bloody violence and a<br />
scene ofsexuality. Running time: 108 min.<br />
Opens 9/12 NY/LA.<br />
Films in which pohtical intrigue is played<br />
for political commentary and not for narrative<br />
excitement are among the most difficult to<br />
make successful. The last great pohtical film<br />
may have been 1969's "Z"; though it's in that<br />
tradition, "The Disappearance of Garcia<br />
Lorca" (aka "Lorca," "Death in Granada" and<br />
"Blood of a Poet") is only modestly effective.<br />
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LORCA-LIKE: Andy Garcia.<br />
Based on two Ian Gibson books about the<br />
political killing of the Spanish poet Garcia<br />
Lorca, the film boasts a number of interesting<br />
characterizadons and some compelling<br />
acting. But it has two themes—the inhumanity<br />
of fascism, and relationship of father<br />
to son—and, paired together, the two<br />
make an incongruent mix.<br />
Filmmaker Marcos Zurinaga ("Tango")<br />
clearly is passionate about his subject, but<br />
perhaps too much. At key moments, his<br />
white-hatted characters declaim more than<br />
speak; their fervency forestalls audience<br />
empathy against the blackguards, and an<br />
offputfing score is simple-minded in its support.<br />
On the positive side, most of the players<br />
give interesting rhythms to their<br />
characters that overcome the freneticism of<br />
the film's tendency toward back-and-forthing<br />
in time. Kim Williamson
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