"Buenos Aires," "Rainbow High," "The Money Kept Rolling In" and the show's signature solo, "Don't cry for me, Argentina." 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? “Evita” allows the audience to identify with a heroine who
achieves greatness by--well, golly, by being who she is. 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. The musical is a story of love and politics, showing all the battles and triumphs Evita has in her short, but amazing life. 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.
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. In 1975, he won the Pulitzer Prize for distinguished criticism.
Eva's Final Broadcast (1996) - YouTube 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. But Parker's visuals enliven
the music, and Madonna and Banderas bring it passion. 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. “Evita” allows the audience to identify with a heroine who achieves greatness by--well, golly, by being who she is. 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. My guess is that they perfectly anticipated “Evita's” core
audience--affluent, middle-aged and female. The Che character zeroes in on this,
questioning her motives, doubting her ideals, pointing out contradictions and
evasions. The musical celebrates Eva Peron's
narcissism, her furs and diamonds, her firm management of her man. He sings well, he has a commanding screen presence,
and he finds a middle ground between condemnation and giving the devil her due. For the movie version, a new solo was added for Evita, "You must love me." He is
grateful for the success Evita brings him (her broadcasts free him from prison,
her campaigns win his elections, her fame legitimatizes his regime).
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. 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. It is only if you believe she is at the
service of the poor that you begin to wonder. 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. 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. Given such
enticements, what audience is going to quibble about ideology?
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. Directed by Marvin J. Chomsky. Madonna, who took voice lessons to extend her range,
easily masters the musical material. For years I have
wondered, during “Don't Cry for Me, Argentina,” why we were not to cry.
It's as if they come up with one good song and go
directly into rehearsals.
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