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ACTOR
Bárbara MoriChristian MeierManolo CardonaGaby Espino
DIRECTOR
Ricardo de Montreuil
SYNOPSICS
La mujer de mi hermano (2005) is a Spanish,Hindi,Punjabi movie. Ricardo de Montreuil has directed this movie. Bárbara Mori,Christian Meier,Manolo Cardona,Gaby Espino are the starring of this movie. It was released in 2005. La mujer de mi hermano (2005) is considered one of the best Drama movie in India and around the world.
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La mujer de mi hermano (2005) Reviews
LA Times Review
As pared down, stylish and deceptively simple as the stark glass and concrete block inhabited by two of its main characters, "La Mujer de Mi Hermano" (My Brother's Wife) is an adultery drama that skips the big life lessons in favor of observing the mysteries of human interdependency and social behavior. Peruvian director Ricardo de Montreuil has transposed the characters created by his compatriot, novelist Jaime Bayly, from Lima to Mexico City and has cast Mexican stars in three of the film's four principal roles. The idea behind the relocation was to broaden the film's global appeal, as Mexican films tend to be well received across Latin America and within the United States. Accents and local slang are duly adjusted, but the shift feels academic. "La Mujer de Mi Hermano" blooms inside only the most insular, intimate spaces, its characters untouched by the world around them. If anything, it's a reminder that class especially the upper echelons is a country unto itself that doesn't recognize geographical borders. Disturbingly beautiful and melancholic Zoë (Barbara Mori) lives with her image-obsessed husband, Ignacio (Christian Meier), in an ultra-modern house half display case, half hothouse on the outskirts of the city. Ignacio is wealthy and doting but distant, and their marriage is affectionate but passionless. Ignacio's sterility and Zoë's refusal to consider adoption compound the feeling that the marriage has cruised into a cul-de-sac. Zoë's complaints, which she shares with her gay friend Boris (Bruno Bichir), are legitimate, but it's Ignacio who elicits sympathy at first. Genuinely afraid of losing Zoë, he exudes a tightly wound, reined-in helplessness that's painful to watch. The feeling is cemented when Zoë starts hanging around with Ignacio's estranged younger brother, Gonzalo (Manolo Cardona), a painter who bad-mouths Ignacio at every opportunity but gladly takes his money each month. When Zoë drops by his gallery unexpectedly, Gonzalo sells her a painting from his show. The selling, rather than giving, becomes another point of contention between Gonzalo and Ignacio, but for Zoë it's a chance to get back at her husband. The principal pleasures of the film lie in the subtle shifts in character that prompt shifts in allegiance, so I won't spoil them. The main thing is that "La Mujer de Mi Hermano" lets its characters' behaviors speak for themselves, which naturally lead the audience into snap judgments that evolve into something more fluid and forgiving. Tall and broad, Meier has a rigid, hulking quality that serves him well as the high-strung businessman scared stiff of losing his wife. For a guy built like a pylon, he has a remarkable way of making himself small by tucking himself into a neat package. Mori, a memorable presence, plays an instantly recognizable type nonetheless rarely seen on screen. Zoë's uncommon beauty masks her neediness, insecurity and loneliness. Mexican star Angélica Aragón plays Cristina, the mother of Ignacio and Gonzalo, a woman who sees strictly what she wants to see and nothing more. A final twist a bit of a corker threatens to push what has otherwise been a cool-headed emotional experience into the realm of melodrama. Despite this false note, "La Mujer de Mi Hermano" keeps a cool eye trained on its characters as they struggle to make their lives conform to some strict phantom ideal. For a movie about an inter-family dalliance, it's far more pragmatic than you might expect, and far more humane. Ultimately, "La Mujer de Mi Hermano" offers the uncommon (in movieland) perspective that it may be the ideal that oppresses life, not the other way around.
Oh brother!
I don't know what all the ravings about. If people think this is good, they should subscribe to Telemundo and watch their telenovelas, for this is surely no better. We call it soap. And some American soap has more lather. The plot is acceptable. The acting is OK, for a soap. But there is no depth. We have one brother who runs a business (which we never see). a haus frau who has little to do but talk with her gay confidant, another brother that paints sometime (we never know when) the gay confidant who does nothing but pine for one of the brothers and a mother, who has lunch, because she seems to be perpetually out to lunch. That's about all we know about these people, except when they run into each other. We know as much about the maid as we do most of them. Fine screenplay writing requires showing the characters in depth so we can appreciate their dilemmas, there challenges, their triumphs, their failures. Zoe- she likes flowers, she likes midnight swims, she likes sex but is on a Sat. night diet,( she suspects her husband is gay since he'd rather do almost anything instead of sex with her (not a bright bulb), she wants a child, she loves phallic paintings, she hates Bach, she's dangerous with a microwave. Ignacio- he says he loves his wife but seems to love men also, works a lot, is rich, loves Bach, hates moonlight swims, and as for sex, never on a Sunday... or Monday... or Tues... or Wed... or Thurs... or Friday... with a woman. Gonzalo- is a stud, is very selfish, was molested by his brother (and is still haunted by it), likes to paint phallic symbols, doesn't want to work in the rumored factory, doesn't want to get married but does want lots of sex. The mother...merely drops in for lunch and useless chatter. Wants a grandson. The Maid... knows how to make breakfast and keep her mouth shut. If one wants to make a good movie, he has to devote a lot of care to the craft. There was no depth to this. It was just slopped together.
People in Glass Houses Should Not Throw Stones.
Erotically-charged pot boiler has exotic beauty Barbara Mori yearning for love and passion from her cold and seemingly unfeeling husband (Christian Meier). They both want children, but it seems that Meier is unable to impregnate his wife. The fact that Meier will literally only make love to his wife on Saturday nights and would rather pleasure himself adds to their marital tension. Soon Mori starts hanging out with Meier's younger artist brother (Manolo Cardona). It appears immediately that their relationship is going beyond what it should. The womanizing Cardona (who makes it clear to girlfriend Gaby Espino that he is not interested in anything having to do with marriage or children) quickly starts his routine with Mori and she begins to fall for him as friction grows by leaps and bounds between the two brothers. Mori finds solace with gay friend Bruno Bichir who seems to be the most reliable male influence in her chaotic life. Soon everything becomes heated and complicated with Mori in the middle of an emotional firestorm that is about to consume all the players found within. Present fireworks are also met with past family secrets that come to the forefront. "La Mujer De Mi Hermano" ("My Brother's Wife") is a highly interesting feature-length soap opera (which actually makes sense considering Mori and Meier's professional backgrounds) that works due to Jaime Bayly's dominant script concerning failed Catholicism (priest Beto Cuevas being a major role player here) and forced family obligations in the Hispanic world (from Angelica Aragon who yearns for grandchildren from her two sons). First-time feature director Ricardo de Montreuil has a firm grasp on his story and he is not afraid to let Mori (who is breathtakingly gorgeous) dominate the action and be the central focus. An international flair all the way as the United States, Mexico, Peru, Chile and Colombia all had a hand in the final product. While flawed, it still produces sparks and definitely an extreme heat. 4 stars out of 5.
Parade of the clichés
A LOT OF SPOILERS HERE, SO BEWARE There has been considerable fuss over this movie, and I'm not sure why. Rather than being 'shocking,' as some have called it, I found it pretty predictable, primarily because the characters are clichés that have been familiar figures in movies over the past 10 or 15 years. 'Mujer, etc.' is a Peruvian film that is really a stylish soap opera. We have the conflicted husband Ignacio (Christiane Meier) who can't conceive; the unhappy, confused and childless wife Zoe (Barbara Mori); and the husband's brother, a scruffy, ever-cool, always foul-mouthed Gonzalo (Manolo Cardona), who also just happens to be a talented artist (why are these people never accountants or claims adjusters?). Gonzalo wants to sexually possess the wife rather than love her, more out of revenge and hatred for his brother. And then, to round up the usual clichéd suspects, we have the nonthreatening, flaming gay guy Boris (Bruno Bichir) who offers secret, breathless advice to Zoe while confessing, around deeply effeminate giggles, that he finds her husband 'very hot'. Zoe, for reasons that escape me, regularly and inexplicably seeks his counsel. This is some counsel: Boris says Zoe's husband must be gay because if he wasn't he would want to have sex with her every day (this is after 10 years of marriage). With advice like that I'd be looking for another nonthreatening, flaming gay guy. It could be my imagination, but contemporary movies are littered with situations like this: the 'third-party' omniscient gay man who is sought out for advice by confused heterosexual women or men. Director Ricardo de Montreuil tries to explain everything toward the end, and it becomes a pretty awkward 'wrapping up' ceremony. The husband confesses he 'likes men' (i.e. he's always been gay). The wife, who has slept with this guy for 10 whole years, appears to be shocked by his confession. Credibility anyone? The nonthreatening gay guy offers to adopt the wife's baby as his own (and how many times have we seen this scenario?). The wife is content with a child donated by sperm from the rotten brother, who has exacted his revenge on his brother and wants nothing more to do with the wife. The husband carries on, living a gay lifestyle while he continues to live, and sleep, with his wife in an agreement that includes a 'fully loving' relationship. Egads. As if. This director wants us to suspend a whole lot of disbelief in this film, and it just doesn't work, at least for me.
Great Acting - Good Try But Needed More!!
I just saw La Mujer De Mi Hermano and I may sound a bit biased since I am a huge Barbara Mori fan, but as always I thought she was great...but the real treat here was Christian Meier, he really seems to have evolved as an actor with every character he does. The ending is a powerful one and all three actors come in true sync with their respective characters. This is the second film Meier has done, based on a Jaime Bayly character and here he hits a bang! All three main characters are subtle yet very effective with their portrayals..simply amazing, chic and sexy all throughout. I had a slight problem with the fact that sex was a little bit overdone...It somehow felt that some of the sex talk scenes took away from the actual story and felt more like a filler than to have any substantial purpose. This was one of the main reasons I would rate this movie a 7.5 out of 10...It was a great movie that had a great pacing for the surprise finale and I was a bit baffled about one of the character's actions after he discovers something very significant to the story (which I will not give away.) Manolo Cardona was also great and the imperfections of his character came alive through the screen. I did not see this movie with subtitles so I am not sure what non-Spanish speaking folks read, but I do have to say that it is understandable why many American critics will slander this film. Is because they don't understand that Hispanic films don't deal with some of the American topics on film in a daily basis. Americans and Europeans make tons of films about rape, incest, murder and every possible sick thing imaginable, which is why it might seem like a joke that something like La Mujer De Mi Hermano will cause marvel to the Hispanic audience. Spanish-speaking films seldomly deal with these topics and do not have such a big history with sleek, smart & taboo films, so they should definitely take that into consideration when rating the film. Overall, I felt as I needed more...More thought-provoking dialogue, but it did justice to the Jaime Bayly novels, which rather speak for themselves rather than providing revolutionary sayings.