The Best Picture Winner at the Oscars usually is a film that either soared above the rest or had enough power in it’s story that you couldn’t help but be moved. James Cameron’s Titanic may not have had the tightest story in the world (I still argue that L.A. Confidential was worthy enough), but it was impressive for the time. We all know The Shawshank Redemption could have easily won Best Picture, but Forrest Gump did so some amazing things that year as well. I love All That Jazz, but can understand how Kramer vs. Kramer scooped Best Picture. Everything, Everywhere, All at Once may have been a strange winner, but it was moving enough (at least for me, anyway) to enjoy it and feel it was deserving. Then, of course, you get Crash, which still makes me scratch my head to this day.
Netflix’s Emilia Perez was a surprise hit at the Golden Globes. It’s also managed to pick up 13 Academy Award Nominations. As we’re covering the Oscar Nominated films, I decided to give it a run and went in blind. The most I knew about the film was Zoe Zaldana sang and danced, and that it was a something of a musical. It’s a mixed bag, though. On the one hand, you have great performances from Zaldana (who I’ve enjoyed since Drumline) and Karla Sofia Gascon, along with a solid tale. On the other hand, the musical elements of it are awkward. I think of all the songs featured, there may have been 2 or three that struck a chord for me (“Lady” – I loved how the Doctor and Rita share a counterpoint verse and “Papa”, left me misty eyed). I really felt like this could be a stronger film if they took the music out of it, but I also have to wonder if the decision to make this a musical was director Jacques Audiard’s way of dipping a hard to swallow pill for some – a sex change – in chocolate to make it taste better. If that’s the case, they should have hired better musicians, really. The music wasn’t helping, despite how well everyone’s participation was.
Rita (Zaldana) is a lawyer in Mexico, unhappy with a system that forces her to defend people who are clearly breaking the law (if not slightly bending it). She is kidnapped and introduced to an extremely wealthy cartel boss named Manitas (Gascon), who has undergone the hormone prerequisites for gender transition surgery. Manitas hires Rita to find a doctor who will perform the surgery, while at the same time, secures a safe place and new life for Manitas’ wife, Jessi (Selena Gomez, Hulu’s Only Murders in the Building) and their two children. Rita’s reluctant at first, but does the due diligence, securing a doctor and brushing up on medical terms. She meets the goals and is paid incredibly well for it.
Moving ahead roughly 4 to 5 years later, Rita finds herself in familiar circles when she meets Emilia Perez. After some introductions, Emilia has another job for Rita – to help reunite Emilia with her children. This seems easy at first, with Perez’s near limitless funds, but some complications arise in the form of Jessi’s new boyfriend, Gustavo (Edgar Ramirez, Bright). Can Emilia find a way to live her new life while still holding on to elements of the past? How far will Rita go to keep things running smoothly?
Historically, transexual characters in cinema isn’t anything new. We’ve had Chris Sarandon’s Leon in 1975’s Dog Day Afternoon, Hillary Swank in 1999’s Boys Don’t Cry, Jaye Davidson in 1992’s The Crying Game. Emilia Perez is a bit different in having a transgender actor play a transgender character. Was it any more effective to cast the film this way? I’d argue that it was. In some ways, it’s like watching Joel Grey’s Chiun in Remo Williams: The Adventure Begins or Peter Sellers’ Sidney Wang in 1976’s Murder by Death. Were their performances bad? I don’t think so. Could someone Mongolian or Chinese have done a better job? Possibly, but Hollywood just didn’t cast that way back then. Between Manitas’ darkness and Emilia’s kindness (and the moments in between that showcase that darkness when Emilia gets angry), Karla Sofía Gascon gives a great performance. Her chances of winning an Oscar may be damaged by some recently discovered tweets that show her going on a racially fueled tirade. Had that not happened, there’s a chance she could’ve plucked the Oscar right out of Demi Moore’s, Mickey Madison’s or maybe even Cynthia Erivo’s hands.
Zaldana is equally as good here, putting both her dancing and singing chops to work. It’s a very different role, compared to what she’s done in the Guardians of the Galaxy and Avatar films. Again, while the music isn’t particularly great or memorable, she does her best with what she’d given and her character moves through a number of emotional states. I think the only person who might have made an impact (for me, anyway) was Selena Gomez. She was okay, but I’ve seen her do better in Only Murders in the Building. The role of Jessi is also different from other ones she’s played, but it felt awkward. Not terrible, just a bit different. I could see a few actresses easily handling that role.
From a filming standpoint, there’s a lot of nice lighting effects, particularly when the film moves into the various dance numbers. Cinematographer Paul Guilhaume makes some cool magic in various scenes. If Emilia Pérez does win a number of awards, it’ll be for the acting and the production. While I don’t really see myself running back to it, it’s worth a watch at least for the Awards curiosity.
Through the Shattered Lens 