Despite the latest political events, there was a time recently that Cuba seemed closer that it ever did before. It’s a land often at odds with its neighbors only 90 miles away, populated by colorful characters and a rich culture. Buena Vista Social Club’s greatest cinematic feat is capturing the spirit of this place, the title referring to both a venue in Havana and a touring band made up of veteran musicians fusing together a variety of styles. Now on Criterion, you can immerse yourself in their talent and their tour in the late ‘90s that brought them to the preeminent venue in the US, Carnegie Hall.
Synopsis:
Traveling from the streets of Havana to the stage of Carnegie Hall, this revelatory documentary captures a forgotten generation of Cuba’s brightest musical talents as they enjoy an unexpected encounter with world fame. The veteran vocalists and instrumentalists collaborated with American guitarist and roots-music champion Ry Cooder to form the Buena Vista Social Club, playing a jazz-inflected mix of cha-cha, mambo, bolero, and other traditional Latin American styles, and recording an album that won a Grammy and made them an international phenomenon. In the wake of this success, director Wim Wenders filmed the ensemble’s members — including golden-voiced Ibrahim Ferrer and piano virtuoso Rubén González — in a series of illuminating interviews and live performances. The result is one of the most beloved documentaries of the 1990s, and an infectious ode to a neglected corner of Cuba’s prerevolutionary heritage.
The film stems from efforts by American guitarist and producer Ry Cooder, who sought to create a record fusing the styles of Cuban and African musicians. When the latter pulled out, he went ahead anyway with the Cuban contingent. The aging artists he drew together were musicians living new lives, having left the business and taken on more mundane jobs such as shoe shiners and cigar rollers. These efforts resulted in a hugely popular album that as of 2015 had sold over 12 million copies. Wim Wenders’ documentary chronicles the second phase in Cooder’s collaboration with these Cuban musicians when he visited Havana in 1998 to record with Ibrahim Ferrer. His arrival prompted a reunion of the original ‘Buena Vista Social Club’ artists, and eventually their touring of Amsterdam and New York.
Wenders uses live and recorded music in the film, interspersed with interviews and footage from the road, making it both a concert film and a documentary, one that earned an Academy Best Documentary nomination in 1999. Wenders is workman-like in his approach, especially in the early stages where he meshes together the musical and social aspects of life in Cuba, lines that often become very blurred. The revolution and political saga of the time is kept somewhat at bay, but a sadness is present, antiquated cars and buildings adding a backdrop of dilapidation to the setting. The film at times feels like a snapshot of people, a place, and an era that already seems lost.
Where the film truly shines is in how it captures the spirit of this ensemble. These Cubans, many in their eighth or ninth decade, were given a new lease on life through this colorful assortment of performers, proud to share their talents and passions as well as champion their cultural heritage once again. The film drags a little when Cooder is the focus, and he does get plenty of screentime. It’s something of a mistake to have him take the lead despite it being a logical choice concerning his involvement and importance to the project. Thankfully the rest of the troupe are far more charismatic, notably the self-professed ladies’ man Compay Segundo and singer Ibrahim Ferrer, dubbed by Cooder as the “Cuban Nat King Cole.” From joking about an ability to sire another child, culture shock of the group touring New York, or when they finally get to Carnegie Hall and Ibrahim Ferrer, he brims with life as he delivers a rendition of ‘El Cuarto de Tula.’ It’s in these soaring moments that the film is most in tune, when it embraces and celebrates these characters and the music that rejuvenates their souls.
The Package
This “Director-Approved Edition” showcases a new high-definition digital transfer. Colors are natural but deep, detail is good; it’s still a little jagged/rough in parts, likely due to the source. Filming on a Sony Betacam Camera in 1998 gives limited scope for improvement. It’s undoubtedly an improvement over any previous release. The polished visuals are supported by a host of extras, as you’d expect from Criterion, including:
- Audio commentary from 1999 featuring director Wim Wenders: A decent commentary where the director focuses on his approach to the documentary and the subjects, as well as his editing process. He also offers insight into how some scenes were planned and others used to add additional social/political commentary.
- New interview with Wenders: Retreads some of the commentary content but also offers some new reflection on the film and its legacy.
- Interview from 1998 with musician Compay Segundo on his career and the world of Cuban music: One of the most charismatic members of the troupe, any additional footage of this gent is most welcome.
- Radio interviews from 2000 featuring musicians Ibrahim Ferrer, Rubén González, Eliades Ochoa, Omara Portuondo, and others: A total of twelve interviews are included here which range in both quality and interest.
- Additional scenes: Two extras songs, one omitted interview, and a segment looking at memorabilia that cumulatively run around 20 minutes.
- Trailer
- An essay by author and geographer Joshua Jelly-Schapiro: Included in the accompanying booklet, it also details the restoration and release of this Criterion edition.
The Bottom Line
The Buena Vista Social Club is a joyful representation of art, culture, the individuals that make it happen, and how it enriches their own lives. An invigorating, soulful, film well deserving of your attention and the Criterion treatment.
The Buena Vista Social Club is available from Criterion on April 18th 2017
