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Matanzas, Cuba, 1913. Two young people who are in love communicate through letters written by penman. When the young man leaves town, to become a pilot, the girl discovers she is really in love with the one who wrote the letters.
Márquez adaptation that lets its colors glow and period setting immerse. It's basically epistolary in which nothing much happens and poetry and love have the stage. Seasons come and go and letters keep changing owners. This is once again new territorial expansion for Alea who started as an heir to neorealism in the 1940s and seems to have made unique and comprehensive study of Cuban history, such an concentrated attempt to explore society and history so diversely might be unlike in the history of cinema (it makes me think of Rossellini). The protagonists of this "simple tale" are upper class girl, suffering poet and young man who dreams of flying. When we first see this young man jumping on board…
This world of sweeping, romantic love, the kind we devour in novels and film, is predicated on the unattainability of the beloved. In other words, love is fueled by absence. The moment we realize that Pedro is irrevocably in love with Maria, he is behind her door as she calls to him, unable to move for a moment due to nerves. This woman who he has been close to throughout the film suddenly appears far away but intoxicating. It’s much different to the earthy love he shares with a local prostitute. His love for Maria is more ethereal. Both he and the prostitute realize that their love, though real, is better when abandoned abruptly. The night she receives a proposal…