Recipe for smash hit film: Two hot, young, teenage boys on a road trip with a distraught woman with lots of sex and bodily functions, drugs, alcohol and money thrown in for good measure. That's what "Y Tu Mama Tambien" has got going for it. Now, shut up and go see it. Don't read anymore if you haven't seen the film because in order to discuss it, I'm going to have to put in some spoilers.

You know this is a Mexican film from almost the beginning. Not just because everyone speaks Mexican and it has subtitles but because the film is gritty, realistic and sun dried. The colors are washed out in decedent glory while the characters, two teenage boys, smoke, drink, fuck and jerk off. In fact, the film begins with a hot sex scene involving one of the lads and his girlfriend. It be hard to get an American film like this made because Americans are so fucking uptight about teenage sexuality. It's important to note that writer/ director Alfonso Cuaron here includes numerous pissing scenes, numerous sex scenes, much nudity, a fart scene, and much talk of sex, masturbation and such things. This film is debased because, as it so often reminds us, its characters are real human beings here. The fact that the film centers on two teenage boys makes it necessary for the film to include "sophomoric" humor and dialogue. That isn't to say "bad" but rather, base, real, unvarnished humor and dialogue.

Cuaron is saying that this time in life is when everything is base and he is correct. Only the young can really discuss such basic human needs and functions because they are old enough to know about them yet inexperienced enough to not have become jaded, closeted or demurred by polite society. This film is the sex-drenched, pubescent, fun filled romp that I hoped "Nico and Dani" would be. Here, the main characters of Julio and Tenoch are not young lovers, but rather teenage boys who share some sexual experiences (they jerk off together but do not touch each other). When a real woman enters their lives, through some pretty well-written contrivances, their sexual knowledge (and ignorance) is exposed and they begin on a wild romp to explore everything about human sexuality that can possibly be known. They become men.

It sad that in Cuaron's vision, when the boys finally do embrace their feelings for one and other and, through the woman, make love to one and other it essentially ends their friendship. Perhaps Cuaron is saying that like exposed nerves, one touched, they recede into their hiding places and never venture out again. The film doesn't say that these young men are "gay," in fact the apparently never express love for another man again in their lives. But it does seem to express that it is their culture (and all culture, really) rather than their sexuality that keeps them apart. Cuaron even goes so far as to have one of the boys vomit the next morning after he has slept with his friend. That's a little over the top. (Then again with drugs and alcohol also a part of the evening, it could be attributed to that). These are young man who, one evening, drop all their macho pretenses and defenses and simply explore their sexuality. It is important that the boys be open-minded types. Cuaron has them call themselves "Charolastras," ("Astral Cowboys"), because of the drugs they do. he makes them totally debauched, sexually active, on drugs, drinkers, and cheaters. These are not naive innocent types who somehow get duped or seduced, nor are they mere typical party animals. But rather they are explorers, of a sort, reaching out for life experiences and trying to figure out what it is all about.

Cuaron uses tons of Mexican imagery to suggest his idea of life being temporary and momentary. This is integral to the plot. The theme suggest that the young should explore the world via sex and drugs in order that they might mature and become fully realized human beings. Cuaron uses the political system in Mexico to delineate the boys as different. One is from a wealthy family, one is not. Neither boy is better than the other or really all that different from the other. Cuaron suggests that this "evolution" of male experience is not necessarily about the class structure. All young men might go through it. He also constantly reminds us of the tenuous political nature in Mexico, again suggesting that freedom, like life, is a temporary and transitory thing. It is important to reach out and grasp experiences while we can before some political or cultural upheaval makes such experiences obsolete.

Cuaron also obsesses over death in the film. Continually images of death remind us of how fragile and tenuous life is. These moments we experience are fleeting. We could be dead tomorrow. Better to reach out for something today, even if we regret it later, rather than never to experience it at all. This revelation is embodied not only in the numerous crosses that appear in the roadside during the film but in the central character of Luisa as well.

Cuaron's film is a wonderful and free-wheeling adventure. The director makes all he does seem easy and flowing yet it is also obvious that he stressed over every detail. Not a moment exists here that isn't integral to the story or themes. No time is ever truly wasted. Cuaron may spend a bit too much time with narrated asides that don't truly mean much to the story at hand but these little dialogues somehow serve to generally propel the themes and ideas of the piece. It is important and through it we learn a few things about the characters that we might not otherwise know.

The acting in the film is superb. It is often hard to judge acting in a foreign film when one does not speak the language. But it is obvious here that Cuaron has hired three of the best actors in Mexico to be in his film and they perform admirably. Gael Garcia Bernal, the handsome young man from "Amores Perros" is again awesome here. This boy needs to learn English (if he doesn't already know it) and come to America immediately. He will be huge. His sexuality and his pure and unabashed emotional acting will make him a huge star. Likewise, Diego Luna, who had a small role in "Before Night Falls" proves himself to be right on par with Bernal. As hunky and as superb of an actor as his costar, Luna's physicality and more reserved manner will propel him into heights of thespian grandeur the like of which we have never seen. These two young men are not only perfect actors, but their chemistry practically causes explosions on the celluloid. Someone told me that they were friends in real life. Whether they are or not, their work here is staggering. These young men will not disappear from sight any time soon.

Likewise Maribel Verdu, who has appeared in over 40 movies, proves her immense talent in every scene she is in. Forced into the role of weepy wife a few too many times in the film, her characters motivation for such hysterics becomes clear at the film's end and we realize just how perfect her performance is. Unafraid and daring in a role which requires nudity and (one assumes) faux intercourse with teenaged boys, Verdu proves herself an actress of immense talent. Her ability to shine equally along side Bernal and Luna when the three of them are on screen is a testament to her skills.

Note:

The songs "By This River" by Eno and "Watermelon in Easter Hay" by Frank Zappa are used in the film.

The highest grossing film opening in Mexico's history. $2.2 million in one week.

Although nominated for a Golden Globe, Mexico chose not to submit it for an Academy Award.

Report Card Script: A+ Acting: A+ Cinematography\Lighting: A+ Special Effects\Make Up: A+ Music: A+ Final Grade: A+

And Help Support Filethirteen! Get Your "Y Tu Mama Tambien" Stuff... Search: All Products Books Popular Music Classical Music Video DVD Toys & Games Baby Computer & Video Games Electronics Software Tools & Hardware Outdoor Living Kitchen & Housewares Camera & Photo Wireless Phones Keywords: