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Y Tu Mama Tambien
Year: 2001
Country: Spain

Directed:

- Alfonso Cuarón

Actors/Actresses:

- Gael García Bernal
- Maribel Verdú




And Here's to You, Mrs. Verdú

Image a much more overtly sexual "The Graduate." Transplant the setting to Mexico. Make Benjamin Mexican, younger (17), and give him a best friend. Make Ms. Robinson younger (28), Spanish, gorgeous, and give her a deep secret. Now imagine a road trip movie, but one with intelligence, sensitivity, and depth (in addition to the usual sex, drugs, and rock & roll). Got it? You now have the foundation for a delightful, thought-provoking film-- Y Tu Mama Tambien. I really loved this film. It perfectly captures the coming of age adventures of young men. There is only one thing on the top of their minds, and this film gives a realistic, frank look into those minds. The sub-plots deal with deeper issues: friendship, honesty, trust, commitment, betrayal, sexual identity, death, memory, class, Mexican culture, and politics- all blended into a delightful, beautiful film. Julio and Tenoch (Gael Garcia Bernal and Diego Luna) are superb as the raging-hormoned 17 year olds. They mix machismo, sensitivity, recklessness, teen stupidity, and soul-searing, life-changing discovery. As the older woman, Maribel Verdú, Luisa Cortes shines. She is gorgeous, frail, emotionally shattered, strong, in control, and teaches the two young men about the richness of sex. There is a LOT of sex in this film; after all, it is about two seventeen year old boys
tar ever to be on the show (she was only 16 at the time). The cast puts on its own version of Alice in Wonderland with Shields in the lead. Something interesting I learned from watching the intro of this episode is that Shields was too young to work a full work day, so in her time off she helped create some new Muppets (including the slithy toves seen in the Jabberwocky scene). The last episode on this disc is one that stars Rudolph Nureyev. Now, it might seem unusual that a world famous ballet dancer would guest star on THE MUPPET SH
kes Ray on a strange quest in search of a '60s radical holed up in a New York City apartment writing children's books played by James Earl Jones - to tell why would spoil the movie. But suffice it to say Jones ends up with one of the most memorable "speeches" in the movie about the nostalgia of baseball. It's hard to rea
on-end. The hosery scene in the first few minutes, the transvestitism, and the sick-in-bed sequence are all grotesquely hyper-realistic. The backstage scene is incredible, and again very strange. There
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