Bombon, El Perro (Bombon, The Dog) - 2004 - Film

Saturday, August 19, 2006

Bombon, El Perro is directed by Carlos Sorin, an Argentinian director whose film was originally released in September 2004 at the San Sebastian Film Festival, and two years later made its way to Chicago for a two-day retrospective at Facets Cinematheque, a venue that looks a lot like New York City's Film Forum.

Juan Villegas (played by Juan Villegas) is an out of work auto mechanic in his fifties, abandoned by his wife for twenty years, and otherwise alone. To fill up time in his day he does repairs to his daughter's house, and one day while on the road helps a stranded motorist. Juan has a round, smile-wrinkled face that makes him sweet and sympathetic just by looking at him, nevermind his kind nature. He tows the motorist's car to her home where she gives him her late father's pure bred dog as compensation, a token of gratitude meant to give Juan some companionship. Along the way, however, Juan meets different people who are drawn to his pup. Mostly he runs into business owners who could use the dog as a security system, but one of those folks is a regular participant in dog shows, and finally the dog provides Juan an outlet for employment more so than friendship.

The film moves slowly as Juan meanders among locales with (and without) his dog. Almost all of the camera work is hand-held, so there's a dizzying close-up home movie feel to a lot of the action. On one hand, the cinematographic style works well because there is such a keen focus on the expression of Juan's face; there are more shots of him and his calm reactions to his environment than anything else, and he is always composed, always seems content just to be witnessing life. On the other hand, the camera work, very bluntly, makes you dizzy.

There is one shot towards the end of the film where, at long shot, Juan turns a corner and walks along a dust-blown path in search of his dog. Gusts of wind blast and swirl clouds of dust as Juan squints his eyes in the sun-dried heat. He seems to move in slow-motion, but that could be a result of the contrast between the dizzying close-ups before hand. For me, this shot had the effect of taking him out of his real-life character and turning him into a figure that is purely cinematic. For the first (and only) time in the film I looked in awe of his character, and I wanted more of it. The moment passed as quickly as it arrived, just like Juan's intimate exchanges with the dog.

The title of the film leads you to believe that the narrative is central to the actions and effects of the dog, but the story is really about the unpredictable circumstances in which Juan finds himself. He has no long-term plans for himself other than to find work; the places where he ends up are all accidental. Sadly, Bombon, the dog is an accidental companion who plays a secondary role to Juan. The dog's character is never illustrated and he remains a blank figure who accompanies Juan throughout his journey, but perhaps is the only one who gives his travels form and destination.