Yet for Evita there are no inconsistencies, because everything she
does is at the service of her image.
With Faye Dunaway, James Farentino, Pedro Armendáriz Jr., Michael Constantine. He is “of the people” enough to feel their passion for Evita, and enough of a
revolutionary to distrust his feelings.Pryce, as the dictator, remains more difficult to read. At the end of the musical, she dies, aged 33, resulting in hysterical mourning throughout Argentina. “Evita” allows the audience to identify with a heroine who
achieves greatness by--well, golly, by being who she is. Eva's Final Broadcast (1996) - YouTube Listen closely as she sings: “For
I am ordinary, unimportant And undeserving Of such attention Unless we all are
I think we all are So share my glory.” The poor, in other words, deserve what
Evita has, so her program consists of her having it and the poor being happy
for her. For years I have
wondered, during “Don't Cry for Me, Argentina,” why we were not to cry. Given such
enticements, what audience is going to quibble about ideology? Her huge political influence and constant charity works earned her scorn and fear from the military and upper classes but adoration and love from the workers and descamisados. “Evita” allows the audience to identify with a heroine who achieves greatness by--well, golly, by being who she is. My guess is that they perfectly anticipated “Evita's” core
audience--affluent, middle-aged and female. "Buenos Aires," "Rainbow High," "The Money Kept Rolling In" and the show's signature solo, "Don't cry for me, Argentina." Madonna, who took voice lessons to extend her range,
easily masters the musical material. The musical is famous for a number of songs, including the satirical "Oh what a circus!" Eva Peron lived only until 33, but she went out with a
long curtain call.Why, then, were Webber and Rice so right in choosing Eva Peron
as their heroine? Even poor Juan Peron
should shed a tear or two; he is relegated in the movie to the status of a “walker,”
a presentable man who adorns the arm of a rich and powerful woman as a human
fashion accessory.All of these thoughts, as I watched Alan Parker's “Evita,” did
not in the least prevent me from having a good time. Now I
understand: We need not cry because (a) Evita got everything out of life she
dreamed of, and (b) Argentina should cry for itself.
Aspiring actress Eva Duarte rises from a minor celebrity to the wife of a powerful Argentine dictator, but her all consuming fiery rage, … When she sings: “They need to adore me--to Christian
Dior me,” she's right on the money.I begin on this note not to criticize the new musical “Evita”
(which I enjoyed very much), but to bring a touch of reality to the character
of Eva Peron, who, essentially, was famous because she was so very well-known. I suspect Parker has as
many questions about his heroine as I do, and I am sure that Che (Antonio
Banderas) and Juan Peron (Certainly Parker is a good director for this material. The musical is a story of love and politics, showing all the battles and triumphs Evita has in her short, but amazing life. For the movie version, a new solo was added for Evita, "You must love me." Directed by Marvin J. Chomsky. In other words:
The lottery is wonderful, just as long as I win it.Banderas, as Che, sees through this; his performance is one of
the triumphs of the movie. It celebrates the life of a woman who begins as a quasi-prostitute, marries a powerful man, locks him out of her bedroom, and inspires the idolatry of the masses by spending enormous sums on herself. The film adaptation of the hit Broadway musical depicting the infamous real-life story of Eva "Evita" Duarte de Peron, the wife of President Juan Peron, who rose from poverty to become the most famous Argentine woman in history. The reason their songs become hits is that you've
heard them a dozen times by the end of the show.
He has
made more musicals than his contemporaries, not only “The movie is almost entirely music; the fugitive lines of spoken
dialogue sound sheepish. In 1975, he won the Pulitzer Prize for distinguished criticism. Evita ist eine US-amerikanische Filmbiografie aus dem Jahr 1996 und gleichzeitig die Verfilmung des Musicals Evita von Andrew Lloyd Webber und Tim Rice.Die Regie führte Alan Parker, das Drehbuch schrieben Alan Parker und Oliver Stone.Die Hauptrollen spielten Madonna, Antonio Banderas und … Evita's legendary life is displayed before your eyes as the most hated and most beloved woman in Argentina.Lavish musical drama, based on the hit stage production by Andrew Lloyd Webber and Tim Rice, telling the life story of Eva Duarte who leaves her rural home for Buenos Aires in the company of Latin singer Agustin Magaldi, eventually becoming the wife of President Juan Peron and a heroine to the people of Argentina.Based on the incredible true story, Eva (Evita) Peron, starts out life as a poor girl who goes on to become an actress and then become the wife of the president of Argentina, Juan Peron.
It's as if they come up with one good song and go
directly into rehearsals. By the end of the film we
feel like we've had our money's worth, and we're sure Evita has.Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. The hit musical based on the life of Evita Duarte, a B-picture Argentinian actress who eventually became the wife of Argentinian president Juan Perón, and the most beloved and hated woman in Argentina.High-flying, adored! After all, if she didn't have it, she'd be poor, too. As importantly, she is convincing as
Evita--from the painful early scene where, as an unacknowledged child, she
tries to force entry into her father's funeral, to later scenes where the poor
rural girl converts herself into a nightclub singer, radio star, desirable
mistress, and political leader.There is a certain opaque quality in Madonna's Evita; what you
see is not exactly what you get. Her fame continued after her death, as her skillfully embalmed body went on to
a long-running career of its own, displayed before multitudes, spirited to
Europe, fought over, prayed over, and finally sealed beneath slabs of steel in
an Argentine cemetery. But there
is a quiet little scene where he knocks on her locked bedroom door and then
shuffles back to his own room, and that scene speaks volumes for the haunted
look in his eyes.The music, like most of the Webber/Rice scores, is repetitive to
the point of brainwashing.
It is only if you believe she is at the
service of the poor that you begin to wonder.