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Once upon a time in the Caribbean, there was a small island inhabited by Taíno natives. Colonized by Spain in the 15th Century, the island became a key location for agriculture and maritime trade. This was all at the expense of the Taíno population, which disappeared shortly after. Centuries after, as the Spanish Empire lost its grip, the United States won the Spanish-American war, taking over the island as a "spoil of war", while pushing away Spanish landowners.
Ray Figueroa's epic Puerto Rican film takes a look at these centuries-long "relationships" through a story of love, want, and revenge. Once Upon a Time in the Caribbean follows Juan Encarnación (Héctor Aníbal), a former sugarcane foreman, as he tries to find and rescue his wife Pura (Essined Aponte) who was kidnapped by some "old foes" on orders of American landowner Mr. Walker (Robert García Cooper), who wants to take her as wife.
The film is essentially a revenge story as Juan has to fight his way through various obstacles and bad guys to reach his wife. However, it is notable for various reasons. First, Figueroa's direction and the cinematography by Willie Berrios are just impeccable. Often inspired by Puerto Rican paintings and artwork from the likes of Francisco Oller, Luis Germán Cajiga, Ramón Frade, it gives the film a unique Puerto Rican flavor. Plus, their use of framing with the gorgeous Puerto Rican landscapes make for some really beautiful scenes and shots.
Second, Figueroa feeds this Puerto Rican story with tons of influence from westerns, samurai films, and many others. There is a lot of Kurosawa, Eastwood, Tarantino, and others running through this film's DNA, with katanas and revolvers being replaced by machetes. Like Eastwood's Man with No Name, Juan is a man of few words, but one that everybody knows about and everybody fears. Even though Aníbal's performance never gets to 10, most of what works about him and the film is in screen presence, vibe, and atmosphere.
But finally, the way that Figueroa frames this story as a metaphor of the relationships between Puerto Rico, Spain, and the United States is masterful. It's not necessary to understand this history to enjoy the film, but for those that know it (or have lived it) there are some extra layers to peel away. From the above statement said by a ruthless American landowner to the Spanish "colonizer" he's pushing away, it adds a lot to the context of Puerto Ricans trying to fight for our place, while between two huge "empires", even if at times it feels like it's falling apart around us.
The film is not without some flaws, most notably the pacing is a bit off. The middle act loses a bit of momentum when compared to the first or last act. Also, most of the supporting performances outshine the leads. Aponte does have some pretty good moments, but most of the best acting moments come from supporting characters. Regardless, this is a crowning achievement in Puerto Rican cinema; one that should be seen by every Puerto Rican, and one that should stand among the best films made here in the island.
Grade:
ÉRASE UNA VEZ EN EL CARIBE
(2023, Figueroa)
(2023, Figueroa)
"You may stay in this house until you find another place... or until it falls apart around you."
Once upon a time in the Caribbean, there was a small island inhabited by Taíno natives. Colonized by Spain in the 15th Century, the island became a key location for agriculture and maritime trade. This was all at the expense of the Taíno population, which disappeared shortly after. Centuries after, as the Spanish Empire lost its grip, the United States won the Spanish-American war, taking over the island as a "spoil of war", while pushing away Spanish landowners.
Ray Figueroa's epic Puerto Rican film takes a look at these centuries-long "relationships" through a story of love, want, and revenge. Once Upon a Time in the Caribbean follows Juan Encarnación (Héctor Aníbal), a former sugarcane foreman, as he tries to find and rescue his wife Pura (Essined Aponte) who was kidnapped by some "old foes" on orders of American landowner Mr. Walker (Robert García Cooper), who wants to take her as wife.
The film is essentially a revenge story as Juan has to fight his way through various obstacles and bad guys to reach his wife. However, it is notable for various reasons. First, Figueroa's direction and the cinematography by Willie Berrios are just impeccable. Often inspired by Puerto Rican paintings and artwork from the likes of Francisco Oller, Luis Germán Cajiga, Ramón Frade, it gives the film a unique Puerto Rican flavor. Plus, their use of framing with the gorgeous Puerto Rican landscapes make for some really beautiful scenes and shots.
Second, Figueroa feeds this Puerto Rican story with tons of influence from westerns, samurai films, and many others. There is a lot of Kurosawa, Eastwood, Tarantino, and others running through this film's DNA, with katanas and revolvers being replaced by machetes. Like Eastwood's Man with No Name, Juan is a man of few words, but one that everybody knows about and everybody fears. Even though Aníbal's performance never gets to 10, most of what works about him and the film is in screen presence, vibe, and atmosphere.
But finally, the way that Figueroa frames this story as a metaphor of the relationships between Puerto Rico, Spain, and the United States is masterful. It's not necessary to understand this history to enjoy the film, but for those that know it (or have lived it) there are some extra layers to peel away. From the above statement said by a ruthless American landowner to the Spanish "colonizer" he's pushing away, it adds a lot to the context of Puerto Ricans trying to fight for our place, while between two huge "empires", even if at times it feels like it's falling apart around us.
The film is not without some flaws, most notably the pacing is a bit off. The middle act loses a bit of momentum when compared to the first or last act. Also, most of the supporting performances outshine the leads. Aponte does have some pretty good moments, but most of the best acting moments come from supporting characters. Regardless, this is a crowning achievement in Puerto Rican cinema; one that should be seen by every Puerto Rican, and one that should stand among the best films made here in the island.
Grade: