Adam MortonFMST9/21/15

On the Road AgainOnly a few key elements separate a road film from any other classification of film

storytelling. First and foremost, road films are not genre dependent. A road movie can be an action film, road warrior film, drama, comedy, family related, socially contemplative, or fall into any other genre. Regardless of the genre of the road film, road movies share two universal elements: a journey and internal change. The primary defining trait of the road movie is the road. Whether literal or figurative, the road represents a journey undertaken by the film’s hero(es), usually sparked by internal conflicts. The hero(es) seek out something, usually some tangible goal at their destination, but often find more internal growth and change than actual success in their journey. This internal growth echoes the classic “bildungsroman, a story in which the hero changes, grows, or improves over the course of the story.” (Wikipedia) In a road movie, the characters pass through various towns on the way to their destination, and frequently they meet a mentor figure, like that found in the classic bildungsroman, who gives them advice, often of a personal and insightful nature.

Every definition of road movies I have found so far validates the claim that Viva Cuba is part of the genre. Malu and Jorgito, driven by their desire to stay together, embark on an epic journey across Cuba. Along the way, they meet many adults, all male, who give them advice about their journey. Sometimes the advice is useless or silly, like in the case of the man who tells them about the fictional monsters, the guijes. On other occasions, the advice is poignant and personal. Consider, for example, the advice given by the speleologist they meet near the end of their journey. He tells Malu and Jorgito that they have failed their journey already if they are willing to give up friendship over a petty squabble. The nominal goal of the journey Jorgito and Malu undertake is to find Malu’s father and convince him to let her stay here in the country, but the true goal is to solidify their friendship and prevent their separation. Over the course of the journey, Jorgito and Malu learn to put aside their differences and recognize the power of their friendship. Likewise, their parents, who have squabbled for years about their class differences, learn to recognize one another’s similarities over their differences. A hallmark of road movies is the belief that the journey, and what the heroes learn from it, is far more important than the destination. Viva Cuba lives up to this requirement by downplaying the destination entirely. Only a few minutes of the film are dedicated to actually reaching the destination, which is no different from the situation at the beginning of the journey. The main goal of the journey, preventing Malu’s father from signing an exit authorization, is not even achieved. Reunited with their families, and the petty conflicts of home life, Malu and Jorgito choose to run away, once again. In a sense, this seems to tell the viewer that by traveling together, Malu and Jorgito have come to value their friendship, and the road that forged it, more than their previous goals.

There’s very little more to say. Viva Cuba is a road movie. It fits all the conventions. I’m not going to write any more for fear that it will be worthless fluff.