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Eva Perón ... Madonna |
Ché ... Antonio Banderas |
Juan Perón ... Jonathan Pryce |
Agustín Magaldi ... Jimmy Nail |
Dona Juana ... Victoria Sus |
Brother Juan ... Julian Littman |
Blanca ... Olga Merediz |
Elisa ... Laura Pallas |
Erminda ... Julia Worsley |
Young Eva ... María Luján Hidalgo |
Cipriano Reyes ... Servando Villamil |
Perón's Mistress ... Andrea Corr |
Domingo Mercante ... Peter Polycarpou |
Juan Bramuglia ... Gary Brooker |
Julieta ... Maite Yerro |
Director ... Alan Parker |
Producers
...
Robert
Stigwood, Alan Parker and Andrew Vajna |
Music ... Andrew Lloyd Webber |
Lyrics ... Tim Rice |
Screenplay
... Alan Parker and |
Cinematography ... Darius Khondji, A.F.C. |
Choreography ... Vincent Patterson |
Costume Designer ... Penny Rose |
Music Supervisor ... David Caddick |
Production Designer ... Brian Morris |
Editor ... Gerry Hambling, A.C.E. |
REQUIEM
FOR EVITA |
The story of Eva Perón
begins at her end. A smoky movie theater full of patrons is informed that
she, the spiritual leader of their nation, has entered immortality. Amidst
the devastated mourners sits a disenchanted Ché, the only dry eye
in the house. We quickly travel back 20 plus years to a small funeral.
Young Eva Duarte breaks from her lower class restrictions to pay respects
to her middle class father. When she is caught and pulled away, she screams
in heartbreak. We cut from her father's small funeral to her own national
funeral. This opening is actually
longer than the original stage opening, expanding on Eva's back-story
and displaying the breadth of her funeral. The filmmakers used documentary
footage of the actual funeral to recreate it accurately in Budapest, Hungary. |
OH,
WHAT A CIRCUS |
Our narrator Ché, comments on the excess attention paid to the fallen first lady. Although he seems to be alone in his discontent, scenes are interspersed that display the feeling as widespread. We see riots and vandalism but then we return to the grief-stricken Argentinean people dancing the "milonga", a slow,anguished but beautiful tango used to express their sadness. The epic scale of the opening falls several steps to put the focus on our narrator. Many musicals have a huge hurdle inherently built in. Evita is no exception when it comes time for someone to break the fourth wall, turn to the camera and sing. Banderas does a credible and consistent job of 'narrating' the story. His voice is more than sufficient but many times his character comes across as more angry than politically acute. And that anger is usually expressed by hanging his head and looking up through his eyebrows. Interestingly, his character went through a huge change on its journey from stage to screen. On stage he is credited and dressed as "Ché Guevara", a rebel of some renown. But, that character has been stripped. Although he is still named "Ché" in the credits, gone is the defining wardrobe as well as much of the anger. Even with his occasional interaction with Eva, Ché is now is purely a narrator. So, Ché has begun to sing Eva's story . Eventually, we return to the funeral to view Eva lying in state. |
ON THIS
NIGHT OF A THOUSAND STARS |
We travel back in time. This is the small city of Junin and Eva Duarte has attached herself to a sleazy nightclub singer, Agustín Magaldi. We find the couple in bed as Magaldi is called downstairs to perform in the club. The highlight of his act is "On this night of a thousand stars." Jimmy Nail portrays Magaldi, and quite well. He is appropriately sleazy looking and easily portrays the charm that so harshly backfires. His character is actually in the story to introduce Eva. He is the first man Eva uses on her climb to the top. This concept is a main theme of the stage show but is extremely watered down in the film. This scene is also the introduction of Madonna as Eva. The film becomes more intimate, a change from the epic opening. She is beautiful in the role, donning more costumes than Elizabeth Taylor in Cleopatra. Vocally, she is often accompanied by an 'echo' that, along with musical 'segmentation',makes some of the material appear lifted from VH-1. This number also cleverly introduces Ché's omnipresence. He seems to always be available when needed, even working 'odd jobs'. |
EVA
BEWARE
OF THE CITY |
Eva packs her bags to leave town with Magaldi. But he does his darnedest to convince Eva to abandon her dreams and stay in Junin. He doesn't want her to travel with him to the big city of Buenos Aires. The scene is visually pleasing and all of the performances work to show Magaldi's futile goal. Nail cements one of the film's best performance with this supporting role. You understand every emotion and calculated move he makes... |
BUENOS
AIRES |
Agustín Magaldi has lost. He is heading back home with Eva in tow. From the moment they board the train, she can hardly contain her excitement. Yet, when they arrive in Buenos Aires, Eva begins dancing with a bar full of men. Magaldi secretly knows he cannot compete with her charms, he is just a low-on-talent tango singer. But, he still has one more secret... The orchestrations for this, Madonna's first solo, are accentuated by Latin rhythms timed with the train. Like all the other times in the film, the dancing is 'natural'. That means it only happens when someone would dance in reality. |
ANOTHER
SUITCASE IN ANOTHER HALL |
Eva and Magaldi arrive at his home and he is greeted by his daughter... Obviously, Eva was not informed of Magaldi's marital status. She turns and heads out alone into the street. In the theatrical production, this number is performed by Juan Perón's mistress who is unceremoniously dumped for the more powerful Eva. It provided a much needed time offstage for Eva. The song and the character were an island of their own. It didn't propel the story in any way. But, director Parker took it away from the mistress and gave it to Eva. He thought it was like giving an important monologue to a secondary character. He thought it also helped build Eva's backstory. To me, the song doesn't work to his wishes as it was written for a pleading, insecure girl. That is contradiction to Eva throughout the story. It's almost as if she adopts a different performance for that song alone. |
GOODNIGHT
AND
THANK YOU |
Ché, now a janitor with a broom, sings this song to the men that Eva uses to climb to the top. The song follows her rise to semi-stardom. She even does a soap commercial on the radio. Banderas has a lot of fun with this song, whether dressed as a busboy, Maitre D' or a janitor. He breaks the news to Eva's lovers when they have been deemed useless. This receives a longer production then stage because Eva's actual stepping stones are shown visually as opposed to suggested. Some Eva Perón purists complained that this song painted Eva as a whore so the whole theme was softened when the stage show was transferred to film. |
THE
LADY'S
GOT POTENTIAL |
We've followed Eva for a long time now. Now we must take a good look at the state Argentina is in. We see a country in flux. There are military attacks and the leadership is forcefully replaced several times. One politician that seems to keep clean as he climbs the ladder is Juan Perón. He is part of the military coup but also embraces the workers unions. After an earthquake hits the town of San Juan, Perón mounts a charity concert to help his own political ambitions.... This song was written for the concept album and cut before the show made it to the stage. It contained some of the weakest lyrics that Tim Rice had ever written. Thematically it said that Eva was a bug and Ché had the insecticide. Fortunately for the world, he wrote new lyrics for the film and the song is now a great story telling mechanism. The song also takes the place of the stage 'Art of the possible'(The Musical Chairs number). It accomplishes all of that and more economically and with great visual flair. The earthquake section, although minimal, appears epic in itself. This is the first song that is performed entirely as voice over. We never see the vocalist throughout the entire song, but rather we see a visual montage. |
CHARITY
CONCERT |
the
concert is a big success. Not only does it raise money for a good cause
(the earthquake victims), it also brings Perón and Eva together. But, before
they can meet, Eva runs into her old brief fling, Magaldi. He gets the final
word.
After Magaldi finishes "Night of a Thousand Stars",Perón takes the stage and prepares his constituents for his political plan. Ché, now acting as the event's emcee, sings what is left of the stage song "The Art of the Possible", but its only a couple lines. Jonathan Pryce comes from a classical theater background, but that doesn't mean he hasn't done his share of musicals. He was given a Tony Award for his role as the Engineer in "Miss Saigon" and also received critical acclaim as Fagin in Oliver! So, it is of no surprise hat he offers a strong performance. The role of Perón had to be altered to match the film's themes. On stage, the focus is on Perón as a military dictator who manipulates anyone to get his way, including his wife Eva. On screen, he is a strong supporter of his wife and he actually seems bothered when she becomes distant. Even his political views were polished up to make him appear a strong, humane leader. |
I'D
BE
SURPRISINGLY GOOD FOR YOU |
Evita again leaves a party with a different person then who she came. Now she is with Perón who is destined to lead the nation. They share the mutual value of a relationship. But, this is cold and calculated, nothing to do with love. By the end of the song, they have arrived at Perón's mistresses house. The song is very intimate in focus as we watch to manipulative titans secretly agree to help each others 'career.' It is an interesting Lloyd Webber melody line but is one of the least pleasing in film presentation. |
HELLO
AND
GOODBYE |
Eva breaks in on Perón's innocent
Mistress and tells her to move on. |
PERON'S
LATEST FLAME |
The wealthy people of Argentina
do not approve of Perón's new girl. We see them at the polo matches
voicing their complaint. Ché is singing while wearing his best
society duds. We also get a glimpse of Eva's radio program, another sign
of her rising sun. |
DICE
ARE
ROLLING |
Perón
shares his concern for his political career. He feels people are after him
and would like to see him dead. Eva offers her adamant support. The song
ends with Perón being arrested by those he feared. This song shows the last minute reluctance as he heads for the most powerful position in Argentina, the Presidency. But, it takes place in cramped quarters like the back of a limo or in an elevator. |
A NEW
ARGENTINA |
With Perón in
prison, Eva steps up and becomes leader of a vocal group of Perón supporters,
mostly made up of Unions. There strength and sheer numbers eventually results
in Perón's release. And subsequent marriage. This group number is so large and impressive that the whole movie returns to 'epic' size here. The political story is interrupted briefly by a silly wedding montage. But, it's musical arrangement is stunning. In fact, when the ring is placed on her finger, the films new song "You Must Love Me" is introduced in instrumental form. So beautiful that It excuses the insert. |
THE
CASA
ROSADA |
After a turbulent election
where both sides resorted to violence, Perón is the President.
He takes to the balcony of the "Casa Rosada" to address his
people, but most of his words are lost in echo and crowd noise.. Then,
in response to their vocal chants, he gives way to his wife, Eva. Many stage 'purists' were upset with Eva's costuming for this number. What she wears on film is patterned after the real speech outfit as opposed to the long white ballgown used in countless stage productions. |
DON'T
CRY
FOR ME ARGENTINA |
Eva
takes the stage from her husband at the Casa Rosada and speaks to her people This is without a doubt, Eva's Signature song. On stage, She delivers the speech in a very practiced, manipulative manner wearing a gorgeous white gown. After she has won over the crowd, she turns to the representative aristocrat and rubs her success in his face. But, here on film, Madonna's delivery is that of a much more sincere leader. After she wins them over, she goes inside and happily shares the moment with her sisters. And the aristocrats reluctantly give in without any confrontation. So, on stage, she is a manipulative leader with a questionable agenda. On film, Eva is a national savior. That is quite a difference. |
HIGH
FLYING, ADORED |
Ché, is again in Eva's periphery as she makes the networking rounds that continue to propel her success. He sings of her life up to this point. This gorgeous songs was originally intended to open Act Two of the stage show and so, it acts as a summary of what we had seen in Act One. Banderas does a great job with the vocals, especially noticeable since this is a ballad of sorts. Unlike the stage version where the story is propelled by Eva's manipulations, the film Eva is a first lady that does incredible things for 'her' people. This new approach might not be accurate, but it sure is a positive view and probably helped convince the Argentine government to allow the film shooting to take place there. One of the downsides is how it diminishes Ché's gripe. It appears he is whining about an Eva that isn't seen or going to be seen by the viewers. |
RAINBOW
HIGH |
With Eva's popularity growing, she shows a bit of her duality. She is trying on exuberant outfits and experiencing elaborate makeovers. If she is to be the first lady, she is going to look like the first lady. But, just when she appears to be shallow, we see her making demands of the 'old school' authority as she prepares for an International Tour. With this song, Madonna appears truly at home. After all, it is at its heart a music video montage. Most of the singing is performed as voice over as she displays several extravagant outfits. |
RAINBOW
TOUR |
Juan Perón and his committee are watching Eva's International "Rainbow Tour" on black and white newsreel footage. They are commenting on how she improves his popularity. The projectionist, Ché also offers his own commentary. Within the song, they first introduce Eva's illness. After the music video of "Rainbow
High" we return to the movie. The filmmakers employ a very clever
concept used to great success in "Citizen Kane." The story is
being thrust forward using newsreel footage of Evita. Perón is surrounded
by two of his advisors, who offer there support and advice on his wife's
waxing/waning popularity. |
THE
ACTRESS
HASN'T LEARNED THE LINES |
Eva has reached a plateau in popularity with the working class, but she is still looked down upon by the ruling class, even as she becomes one of them. This small piece has Eva sitting uncomfortably alone at an outdoor table. She is surrounded by the wealthy she has so forcefully shunned. As the song ends, we see that Eva believes she has the power to make that ruling class 'disappear.' |
AND
THE
MONEY KEPT ROLLING IN |
Ché sings
of Eva's charitable plan that offers the less fortunate a chance for their
dreams to come true. The working class celebrate her and raise her even
higher on a pedestal. Ché also suggests there is potential corruption
within the Perón political circles. Banderas has some fun with this number. Again, most of the song is performed as off-screen narration. But, when when the working class break into festive celebration, Ché is right in the middle, dancing in a fountain with a young girl. |
PARTIDO
FEMINISTA |
Eva continues her rise by addressing Perón's value to the woman's movement. Much of this section of the film is in visual montage with occasional on screen singing, an this is no exception. |
SHE
IS A
DIAMOND |
Perón is in a growing battle with his advisors behind close doors. They are concerned about Eva's growing power but he tries to refocus their concern to her failing health. Unlike, most of the film, Pryce performs this song 'live' rather than pre-recording the song and using lip synchronization . This works well for Pryce as he can have a more natural delivery and a healthier emotion. |
SANTA
EVITA |
Amongst the working class and children, Eva's popularity has her considered by many a saint. You can't get much higher than that. But not everyone shares her feelings. This song successfully displays Argentina's extreme division on the subject of Eva. The children are singing as peaceful a song, almost a prayer about Eva. In contrast, we violent action escalating. |
WALTZ
FOR
EVA AND CHE |
Her illness has Eva under hospital care. While under medication, we see her conflict with Ché come to a head. As the song progresses, the energy multiplies and the argument grows. But, Eva has to bow out of the argument when her health sends her to the floor in pain. With this Waltz,
the major conflict of the story is summed up in a nutshell. As Ché and
Eva share a dance their argument grows until Eva collapses to the floor
- the same floor used for her funeral viewing. |
YOUR
LITTLE
BODY'S SLOWLY BREAKING DOWN |
A very intimate
moment between Juan and Eva Perón as they discuss her political future.
She sees herself taking on a higher role while he soberly suggests she is
dying. The couple do an excellent job with this sharp change of fate. The film shows a love between the couple never seen on stage. |
YOU
MUST
LOVE ME |
Eva's
health continues to deteriorate but Eva still has the ability to demand
she be loved. Music written for another source (for stage, television, etc.) is ineligible to win an Academy Award. However, the familiarity of the stage musicals material makes it perfect for an award. So, it is common practice to write one or two original songs to capitalize and get Oscar consideration. This song was penned by Andrew Lloyd Webber and Tim Rice for the film and were indeed awarded the Best Song Oscar. A very simple song which got much VH-1 airplay and like so many other 'songs' in the Evita film, it is not sung on-screen but rather as a thoughtful off-screen commentary. |
EVA'S
FINAL
BROADCAST |
Eva gives a final address to her beloved people. Her strength is low but her spirit carries her through. She leaves them with dignity. |
CHANT
|
Crowds of concerned followers hold vigil waiting for Eva's inevitable demise... |
LAMENT
|
So, the story ends where it began. Eva's funeral. The country of Argentina is in mourning. Ché and Perón share a telling glance across her coffin. And the beautiful vocal-less piece takes us out of the story. |
Evita has had a very bumpy ride
from stage to screen. The obstacles included production, personality,
political and stage purist issues. But who to play Evita? Patti LuPone? Elaine Paige? Well, by the time the film went into production they were both more than 20 years older than Eva Duarte at her death. Still, that did not stop the Patti LuPone and Elaine Page fanatics from complaining when they were not cast. In my opinion, they could easily have portrayed the part but would have to have been digitally manipulated to look the correct age (Think Jar Jar Binks.) At various stops in the journey, many actresses were rumored to be attached: Meryl Streep, Michelle Pfeiffer and even Barbra Streisand (See Jar Jar Binks joke). But, in the meantime Madonna began a backdoor campaign to win herself the coveted role. She really pushed to be the "new world Madonna with the golden touch." She posed personality comparisons between herself and Eva Perón. Upon casting, she spent much time working on her vocal abilities and while she may be just an 'also ran' during the more difficult portions of the score, her work paid off. The other roles never had the rumor mill churning. Yes, there were Mandy Patinkin fans screaming at the casting of Banderas, and after the film there were some complaints about his accent (not his voice), he proved to be unscathed. When Jonathan Pryce was cast as Perón, nobody batted an eye. (Where are the Bob Gunton/Joss Ackland fanatics?) Now, when a musical is made into a movie it is common practice to write a new song because Academy Awards can not be given to songs written and used in another source. (If it was written and performed on-stage, it is ineligible for Oscar consideration.) So, composer Andrew Lloyd Webber (film works include "Jesus Christ Superstar", the scores to "The Odessa File" and "Gumshoe") and lyricist Tim Rice (film works "Jesus Christ Superstar","Aladdin" and "The Lion King") were to get together and compose a new song or two. Lloyd Webber and Rice started their careers as partners creating 'Joseph and the Amazing Technicolor Dreamcoat', 'Jesus Christ Superstar' but disagreed on their career directions. They worked again on 'Evita' but the relationship split on rocky ground. Years later the two were commissioned by the Queen of England to write a small show about the game cricket. Their 30 minute creation was entitled simply "Cricket". Rice wanted to shelve Cricket and later return to work on converting it to a full length musical. To Rice's surprise, Lloyd Webber took some songs he composed for Cricket and re-interpolated them into his next project "Aspects of Love." They were once again on rocky ground. For EVITA, they reluctantly pulled it together just long enough to compose "You Must Love Me" which would go on to win the Oscar for best new song. Andrew worked on the films orchestrations with the very talented David Caddick and they are simply stunning. The film Soundtrack is Orchestrally the most rewarding of any available. Tim Rice tweaked and rewrote some lyrics. His reworking of "The Lady's got Potential" is excellent, taking the lyrics from the realm of stupid (Comparing Eva to a big bug and Ché having the insecticide to get rid of her) to clever (Ché moving the story forward by introducing the earthquake that figures into the next song.) Another hurdle in production involved Alan Parker's intent to shoot in Eva's original stomping grounds of Argentina including the government house, The Casa Rosada. The government of Argentina balked several times but eventually gave in, possibly because of the 'positive' light that the film was to put on Eva (As opposed to the manipulative Eva from the stage version.) Still, there were Perón purists upset at the making of the film at all and in some cases the casting of Madonna (Everyone's a critic.) Eventually, it became public knowledge during the filming that Madonna was expecting a child and the press had a field day. Of course, Madonna had no problem redefining herself. She went from the pyramid breasted boy toy to the Mother of the year who, in the meantime, was tackling a great acting challenge. So, the film finally made it's way to the screen but did not enjoy financial success and critically was middle of the road. Madonna was overlooked or undeserving of an Oscar nomination even though she did receive many other acting awards. The film itself did take home the best song Oscar for Lloyd Webber and Rice's "You Must Love Me". Evita had a budget of $55 Million Dollars and grossed just shy of $50 Million in its US theatrical release. |
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