In a historic moment that all requests be reviewed thoroughly, not surprisingly, see a movie like Revolution, the crossing of the Andes, trying to find a profile no less than the figure founding of the nation, the one not for nothing it still called the Father of the Nation: Gen. Jose de San Martin. While not the first time the hero is sent to repeat its military successes of the cinema screen is unavoidable to mention The saint of the sword , Leopoldo Torre Nilsson, who had a great impact in its time, with Alfredo Alcon protagonist and a large cast-accompanied, again Revolution provoke curiosity. A child's curiosity and pride, hope for those who grew up listening to the exploits of the man steadfast and just brilliant strategist at the level of Alexander, Napoleon, Julius Caesar or Hannibal of Carthage, which was able to envision an impossible campaign through Andes, who gave birth to not one but three nations for posterity. To all that respond one way or another Revolution, that also marks the feature debut for its director, Leanne Ipiña.
Far from attempting the daunting task of a comprehensive biographical account, Revolution choose to focus on the climax of the public life of the hero, when against all decide to cross into Chile through complicated mountain passes, to attack the royal army, instead of waiting on this side and not give the advantage to be strong. There is a first mark of intent to suggest that the film will seek to focus on a story by action rather than political. His second hit is to avoid a historical narrator, omniscient and distant, far from wanting to run from the school manual, choose another Revolution, built from mud. This is Corvalan, an Army veteran of the Andes in 1880 is interviewed by a journalist trying to find a touch of color to decorate the news of the arrival of the remains of General from France. The story of this old man, who as a teenager it scribe have officiated by San Martin during the campaign, offers the possibility of an intimate look. And while at some point the film betrays the election, giving glimpses of the intimacy of the hero (to say goodbye to his wife or suffer the pain of an ulcer in the solitude of his command tent), not enough to ruin the action.
Although the figure is less sacralized hero, according to the times and out of sticky jingoism of the past, no Revolution can avoid falling into scenes looking to take that spirit, but manages to avoid uncomfortable nationalist exaltation. On the way he allows some successful proto-western scene, a well-produced battle sequences, breathtaking aerial maps of the Andes and some touches of humor, trying to give human dimension to the profile of a man crystallized into brass. The work of Rodrigo de la Serna is important in this regard, as it provides a good approach to figure-even though the strange music of an accent that is half English and Creole, and the cast mostly with good efficiency accompanying . At the end, the stories of the hero Corvalan and converge to make clear that History is not the monopoly of Jeton, but is built on the backs of faceless men, whose wills were offered to the cause of the country, perhaps without really knowing what exactly is a country. Two hundred years later, the discussion remains open.
Article originally published in Culture and Entertainment section on page 12.
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