REVIEW: DVD Release: Y Tu Mama Tambien

Film: Y Tu Mama Tambien
Release date: 22nd October 2007
Certificate: 18
Running time: 101 mins
Director: Alfonso Cuarón
Starring: Gael Garcia Bernal, Diego Luna, Maribel Verdú, Marta Aura, Diana Bracho
Genre: Comedy/Drama
Studio: Icon
Format: DVD
Country: Mexico

Director Alfonso Cuarón made a welcome return to the cinema of his native tongue with his first Mexican film in a decade. Having tried his hand at big budget American productions, Cuarón went back to his roots with Y Tu Mama Tambien, a lucrative decision with the film grossing seven times its original budget worldwide.

Opening with a very personal goodbye, the audience is offered a voyeuristic view of Julio (Gael García Bernal) and Tenoch (Diego Luna) going at it with their girlfriends more aggressively than a Duracell bunny on speed before taking the girls to the airport, promising to be faithful whilst they are in Italy.

Realising how much they depend on their girlfriends to keep them entertained, their boredom is temporarily remedied by games of who can make themselves come the fastest. Little do they know that a boring family wedding will provide them with a chance meeting which will keep them amused for the rest of the summer.

Cheekily flirting with a beautiful older lady, Luisa (Maribel Verdú), the boys think they are on to a good think until they discover that the mystery Spanish lady is in fact the wife of Tenoch’s cousin Jano. At this point, the double act seem even more determined to impress Luisa, and begin creating an imaginary beach, la Boca del Cielo (Heaven’s Mouth), in an attempt to seduce her into taking a road trip with them. An apprehensive Luisa politely declines until she receives a drunken phone call from Jano while he is away on business, tearfully admitting to having cheated on her.

The three of them set off through rural Mexico, Luisa blissfully unaware that these boys have no idea where they are going. As if Tenoch and Julio need anything more than the presence of Luisa to keep their spirits high as they aimlessly drive around, the boys boast about their sexual experiences and conquests, pausing to high five each other. Bemused by their comparatively modest exploits, Luisa begins her subtle seduction telling them about her relationship with Jano and her first love. The reality of bedding Luisa is more sexual humiliation than fantasy, shattering the grand delusions they hold about their sexual abilities, and ultimately turning them against each other.

They continue their road trip in absolute silence only talking to throw an underhanded remark at the other until they stumble upon a beach - both surprised, they can’t believe their luck. When they meet a group of locals, they discover that Heaven’s Mouth really does exist, and Luisa remains none the wiser about the lies they told to get her there. When it’s time to leave the beach behind, Luisa announces that she wants to stay, leaving the boys to travel back alone with a now awkward and frosty friendship…


Interestingly, the film is set two years in the past, in 1999, showcasing the realities of living in Mexico both economically and politically. Most notably this era is recognised as being the time when Mexico’s longest political reign was brought to an end when the Institutional Revolutionary Party lost the election to the National Action Party after 71 years. Throughout the film, issues of economy and politics are subtly raised, but always presented as background information rather than having a direct impact on the plot. Tenoch’s father is a political official, important enough to have the president of Mexico as a guest at his daughter’s wedding, and although Julio gets on well with Tenoch’s family, they are political polar opposites. It is revealed at the end of the film that some of the things which the audience have seen during the film have been affected as a result of the change in political power, coincidently it is also noted that Tenoch and Julio are no longer friends. Cuarón has created a powerful backdrop for his film and the imagery of poor, rural Mexico serves to enforce the reality of the boys’ lives.

At the heart of it, Y Tu Mama Tambien is essentially a coming of age story, detailing the, literally, emotional journey of best friends Julio and Tenoch. The film opens with a shot which illustrates both the grounding and the destruction of the boys’ friendship - sex. Cuarón is fearless in his choice of opening shot, which places the audience voyeuristically sneaking into Tenoch’s bedroom as he is having sex with his girlfriend, with a sweaty recklessness which sets the tone for the entire movie. Cuarón certainly took a risk when he made the decision to show such unabashed scenes of sex, although his choice was no doubt influenced by the fact that he had such an attractive cast to work with. All immaturities to one side, Cuarón has pin pointed the attitude most young people have towards sex, the disposability of it, and the way that emotions are ignored until it is you who becomes hurt. Tenoch and Julio are the ultimate horny teenage boys, bragging about their sexual exploits and trying to outdo one another, but their friendship is put to the test as a result. Neither one shows any signs of growing up or taking responsibility, and they are doubly put to shame when Luisa tells them that their manifesto is as meaningless as the sex they have.


Genuinely moving and humorous, but, at times, cringe worthy, Y Tu Mama Tambien reaches beyond its expected audience of young hipsters with a relevance which spans a multitude of ages. Cuarón has managed to present pressing issues in a way which retains a light hearted and enjoyable viewing experience whilst making you think. JHA

SPECIAL FEATURE: DVD Review: While The City Sleeps

Film: While The City Sleeps
Release date: 27th September 2010
Certificate: PG
Running time: 100 mins
Director: Fritz Lang
Starring: Dana Andrews, Rhonda Fleming , George Sanders, Howard Duff, Ida Lupino
Genre: Crime/Drama/Thriller
Studio: Exposure
Format: DVD
Country: USA

This is an English-Language release.

A legend in the world of film noir, Austrian filmmaker Fritz Lang has been dubbed the Master of Darkness for his contributions to the genre. After emigrating to America, Lang’s films took a turn away from his expressionist roots but not necessarily for the worst. While The City Sleeps is the perfect example why.

A who’s who of 1950s cinema is recruited to act out Casey Robinson’s interwoven screenplay of murder, mystery and marriage.

At the centre of all the action, and tying together every strand of this plot is a newspaper office. The aptly timed death of a young lady in New York City convinces Kyne (Robert Warwick) that priority coverage of this murder mystery will ensure his publication beats the competition and simultaneously throw women into panic. Minutes after dubbing the murderer (John Barrymore Jr.) “The Lipstick Killer” Kyne passes away, leaving it up to his son and sole heir Walter (Vincent Price) to run the newspaper and continue the search for the murderer.

As anticipated by everyone at the paper, Walter doesn’t know where to begin, or how to approach his new role as boss in the publishing industry, and quickly concocts a plan which will relieve him of his responsibilities whilst maintaining the credit.

With the newly established role of executive director up for grabs, Walter challenges three of his department heads to crack the case, with the first man to the post being offered the job. News editor Griffith (Thomas Mitchell), wire-service chief Loving (George Sanders) and news pictures head Kritzer (James Craig) scramble to find resources and allies in the office in a bid break the news first. High flying reporter Ed Mobley (Dana Andrews) turns down Walter’s offer opting instead to focus his attention on wooing Nancy Liggett (Sally Forrest), who happens to be Loving’s secretary.

A web of alliances are made across the office, with Mobley teaming up with Griffith and sharing his close police contacts, Loving recruits famed female columnist Mildred Donner (Ida Lupino) and while Kritzer appears to be tackling the case solo, he indulges in an affair with Walter’s wife, Dorothy (Rhonda Fleming).

The glory of unravelling the mystery quickly consumes each journalist: Loving instructs Donner to seduce Mobley in an attempt infiltrate his investigation, and, after a weak Mobley drunkenly complies, he sets his sights on using new fiancé Liggett as live bait for the murderer…


Overshadowed by his own past works, Metropolis and M, Lang really did produce a classic with While The City Sleeps. The allegorical undertones of media manipulation and moral panic this story presents are relevant enough to be a modern day box office smash. Lang combines crime and its coverage with the executive director position acting as the binding agent for the two - showing how news stories are used to sell papers rather than spread information or caution.

The real genius of Lang’s imagining is the main setting - the office - and the way he uses it to prolong suspense for the characters. Entirely made of glass walls, the office allows the three competitors and Mobley to keep a close eye on each other. It creates the illusion that nothing is secret; Mobley can watch Liggett squirm as he calls her while Loving is watching over, and in this office appearances are everything. The characters are subjected to frustration in that although they can see what is happening right underneath their noses, they cannot hear it. It’s not just the audience who are privileged to a little inside information; the characters are teased into a false sense of knowing.

Robinson provides a strong script, allowing for brilliantly sharp exchanges between the lead characters. The dialogue is as fast paced as the action in the office surrounding the hunt, and lines seem to bounce off the actors nonchalantly. Where other film noirs from this era can seem somewhat stilted and forced, conversation in this film flows naturally and believably thanks to polished performances from the entire cast. Even the barman at their after work hang out, The Dell, manages to interact with the main characters with a little more punch than your standard yes-mam-serve-a-drink-step-out-of-shot bar tender. Andrews delivers an endearingly cocky performance in reaction to Forrest’s almost blasé attitude towards her love interest.

While this film does provide a few twists and turns to keep the audience interested and anticipating the next possible murder, it lacks excitement at the crucial moment. As a chase scene ensues right at the climax of the film, it leaves the audience wanting to jump into the screen and catch the murderer themselves. Dragged out to possibly try and sustain tension, Lang’s tactics seem a little desperate, and more rat and mouse than cat and mouse.


A gem of a film unfortunately lost amongst the critical disdain for Lang’s later career. While The City Sleeps offers a modest glimpse at the world of film noir and Hollywood’s star system and is a definite feather in Lang’s cap. JHA

REVIEW: DVD Release: Pot Luck

Film: Pot Luck

Release date: 25th October 2004

Certificate: 15

Running time: 135 mins

Director: Cedric Klapisch
Starring: Romain Duris, Judith Godreche, Audrey Tautou, Cecile De France, Kelly Reilly
Genre: Comedy/Romance/Drama
Studio: Cinefile
Format: DVD
Country: France/Spain

When you’re a recent graduate in the prime of your life, settling down with that special someone and devoting yourself to the monotony of a nine to five is not particularly appealing. So what do you do when faced with such a bleak reality? Move to Spain, of course!

Overwhelmed by the expectations everyone else has for him, Xavier (Romain Duris) finds himself confused and frustrated by his life. With a father pushing him through every door he can possibly open to kick start his career, and a mother who is afraid of letting go of her little boy, a change of scenery may not be a bad idea. What starts out as a tediously necessary study year in Barcelona turns into an exhilarating, self exploratory learning curve.

Floundering in unknown territory, a coincidental run in with French newly weds Anne-Sophie (Judith Godrèche) and Jean-Michel (Xavier De Guillebon) provides Xavier with a lot more than the sanctuary he initially turns to them for.

Dissatisfied with his relationship with manipulative girlfriend Martine (Audrey Tautou), Xavier persuades himself that the distance between them is reason enough to strike up an affair with the desperately lonely Anne-Sophie. Enough excitement for most, this is just the tip of the iceberg for Xavier, who finds himself sharing an apartment with six other students from all over Europe.

Back at the shared apartment, or L’auberge Espagnole, to use the film’s original title, the life Xavier has forged with his flatmates acts more like a catalyst for their spontaneous behaviour, as opposed to the reality check he is craving with regard to his forbidden lover...


Writer and director Cédric Klapisch has taken the angle of light-hearted student drama in his stride with this offering, which is as charming as it is multicultural. Klapisch subtly draws on the subject of European integration, throwing together seven beautiful young people into the same apartment in the name of education on a budget. Along with French Xavier is Belgian Isabelle (Cécile de France, who won the César Award for Most Promising Actress for the role), uptight Brit Wendy (Kelly Reilly), Lars (Christian Pagh) from Denmark, Italian Alessandro (Federico D’Anna), German Tobias (Barnaby Metschurat), and the only native Spaniard, Soledad (Christina Brondo).

Thankfully, the film avoids stereotyped characterisation to drive the narrative of the flatmates’ struggle to coexist in a foreign country, with limited communicative skills alongside their ongoing studies. Instead, and to the credit of Klapisch, the European stereotypes are provided by Wendy’s visiting brother William (Kevin Bishop). Encapsulating the typical ‘Brit abroad’, William manages to upset and get under the feet of everybody in the house within a matter of days. Obliviously insulting with every word he utters, William is slowly accepted by the group, joining them for the rest of shenanigans. At first, it seems that William is merely there to add to the already overflowing pool of eye candy, and the occasional cheap laugh, but his purpose becomes clear as he befriends the others. His initiation period in the house serves to explain and visualise the lessons each of the housemates have had to learn about tolerance and compromise in order to get to their state of discordantly affectionate harmony.

Surprisingly, the diverse ensemble cast isn’t overkill and the group work well together. While there is clearly some talent in the form of Duris, Reilly, De France and Bishop, the addition of Tautou seems unnecessary. Although her character is central to Xavier’s decisions, remaining an important factor in his life right to the very end, the film does not gain anything by having such an internationally well-known actress in that role.

Despite so many languages being featured, Klapisch reminds the audience that this is a French production with Xavier’s narration, which keeps the audience in the loop with his point of view. A device which reinforces the fact that this story is essentially about the growth of Xavier and his journey - the narration would not have been missed.

Stylistically, it is simple but effective. Scenes of bureaucracy are sped up in an attempt to signal Xavier’s indignation with the guidelines he has to follow in order to succeed, while scenes of enjoyment are slowed down and repeated, signalling Xavier’s desire to prolong them.


French cinema for beginners, Pot Luck eases even the most apprehensive viewer into a comfortable balance of reading the subtitles and feasting on the visual simplicity of modest world cinema. Easy on the eye and the mind, it is endearing through and through, even when it shouldn’t be. JHA