Chad’s Grade: B+
Is there not a more divisive figure in South American politics than Eva Peron? The second wife of Argentine President Juan Peron, Eva (or Evita to her followers), was a key figure in her husband’s presidency. Eva was a true feminist, as she helped gain the women’s right to vote and ultimately ran for Vice President along with her husband.
However, Peron’s rule was also marked by corruption with a strong undercurrent of fascism. Eva very much encouraged her husband’s authoritarianism, as they jailed reporters and shut down protestors. Evita gave passionate speeches on how she was just “one of the people,” yet she dyed her hair blonde and adorned herself like a Hollywood starlet. To this day, in Argentina, she is both loved and despised. An enigma of saint and devil.
Lyricist Tim Rice became fascinated with the figure of Evita and convinced Andrew Lloyd Webber that she should be the subject of their next project. The pair was coming off the massive success of Jesus Christ Superstar, and they released Evita as a concept album in 1976. The stage version debuted on London’s West End in 1978 (with Elaine Page in the title role) then on Broadway (with Patti Lupone) in 1979. The Broadway version ended up winning 7 Tony Awards, including best musical (a first for a British-based production.) Hollywood immediately took notice, and Evita’s 20-year-old journey to the screen is almost fascinating as the film itself.
Ken Russell first started developing a movie version in the early ’80s. The controversial director of “Women in Love” and, most notably, The Who’s “Tommy” would have been a perfect match for the high-concept musical. But Russell wanted Liza Minnelli to play his Eva while the producers were set on Elaine Page. The proverbial creative differences forced Russell to abandon the project.
Evita fell into development hell for the next decade, with every actress from Meryl Streep, Barbara Streisand, Cher, and even Bette Midler approached to star. In the early 1990s, Oliver Stone picked up the project and tried to convince pop star Gloria Estefan (the only Latina considered) to take on the role. When she passed, he settled on Michelle Pfeiffer, with Raul Julia set to play Juan Person. Unfortunately, just before filming was to commence, Raul Julia fell ill and died of complications with a stroke. Also, Michelle Pfeiffer was a new mother and wanted to take a break from acting, so Stone decided to shelve his version.
The film version finally landed with Alan Parker, director of Fame, Midnight Express, and Pink Floyd’s “The Wall.” Parker reworked Stone’s script (who retains a co-writing credit) and met with Michelle Pfeiffer. She declined again, and Parker and producer Robert Stigwood began to look elsewhere for their Evita.
Madonna’s name had always been linked to the project. Stone even met with her and was the favored choice for Glen Gordon Caron, another director briefly flirting with the project. Parker and Stigwood were nervous about casting the controversial pop diva, as her movie career was spotty at best. But Madonna desperately wanted the role, writing Parker a passionate letter along with her acclaimed music video “Take a Bow,” where she plays an “Evita” like Spanish aristocrat.
The sweeping, operatic Evita is an interesting beast of a musical. It shares the same DNA as Jesus Christ Superstar, where the entire story is told through song, and even has a Judas-like character in Che Guevara, the Argentinean revolutionary. During the stylized musical, which charts Evita’s rise from poor teenager to the wife of Peron, Che haunts her every move on stage, playing both critic and conscious.
Thanks to Hal Prince’s brilliant stage direction, it’s a thrilling theatrical production. And yet, if you’re not familiar with Eva Peron’s history and life story, you’re bound to be confused. The same operatic brushstrokes for Jesus Christ Superstar worked because everyone knows the beats of the Jesus story. The same does not apply to Eva Peron, who’s now just a footnote in most history classes.
This is where the film version shines. No longer stage-bound, Parker’s camera is everywhere, capturing Argentina’s political turmoil in the aftermath of World War II. Parker makes smart changes for the movie version, turning Che from the revolutionary figure to an everyman narrator, appearing as a waiter or reporter in key scenes. Parker also uses the song “The Lady’s Got Potential” from the concept album, showing both Eva and Juan Peron’s steady rise in power in an almost comical fashion.
If the movie were made today, neither Madonna nor Jonathan Pryce would be cast in their respective roles. But whitewashing casting aside, Madonna is quite good here. On a purely vocal level, she’s at the top of her game. She’s no powerhouse singer like Paige or Lupone, but she has a remarkably expressive voice, and as a veteran of dozens of music videos, she’s a pro at the extensive lip-synching the role requires. Madonna has always been a guarded performer, but she shows real vulnerability, particularly when Eva is battling cancer, slowly eating her away.
Sadly, Jonathan Pryce is badly miscast in the role of Juan Person. The thin, typically nimble English performer looks nothing like the broad and husky Peron. You can barely recognize him under the pounds of makeup and prosthetics. He’s a strong vocalist, but his Peron is subdued and wooden. It’s almost a blackface performance, and the producers should’ve known better before casting him in the role.
The film version of Che is probably the trickiest role to play. He’s a part omniscient narrator, Greek chorus, and the Argentine people’s voice, appearing in various roles. On top of that, he has to break the fourth wall and sing directly to the audience. And Antonio Banderas absolutely nails it, singing with a theatrical relish that infuses many of Che’s numbers with much-needed energy. He matches Madonna’s vocal work note for note, and the “Waltz for Eva and Che” is easily the film’s best scene. It’s frustrating that this was his only proper movie musical as he has a wonderful singing voice.
Alan Parker does some strong work behind the camera. In addition to the smart changes he made translating the musical from stage to screen, there’s lush, handsome cinematography and stunning detail in the production design. Much of the film was shot in Argentina and seeing the actual Casa Rosita during the iconic “Don’t’ Cry for Me Argentina” number is enormously effective.
The big misstep for Parker is his decision to film the movie in a naturalistic fashion, shying away from the stylized nature of the stage version. There’s a strange tug of war between opera and film, and Parker is unsure which tone to settle for. Alan Parker directed Pink Floyd’s “The Wall,” one of the most daring and psychedelic film musicals of all time. Those brushstrokes are badly needed here, and it’s a shame that he decided to pull away from those instincts.
This is apparent in Madonna’s otherwise strong performance. Both London’s Elaine Paige and Broadway’s Patti Lupone gave big, snarling performances in their respective stage interpretations, playing Eva with a fiery passion. Madonna goes the other route; her Evita is subdued and subtle, fitting Parker’s direction. Much has been made of the parallels between Madonna and Eva Peron, as both were controversial figures for their time in the spotlight. Madonna seems a little too understanding in her interpretation, forgetting that Evita’s brand of feminism was baked in fascism.
And it must be said that the movie has only grown more potent over the years, especially in the age of Donald Trump. There are chilling scenes of jailed reporters, ransacked newsrooms, and protestors beaten down by the police. Both Juan and Eva preach the message of the “Descamisados,” riding their populist message to the presidency while they enrich themselves behind closed doors. Yes, they did some good things while in office, but the Peron presidency resembled more of an authoritarian military state. It’s a warning sign that many of those same traits are alive and well in the current political landscape. “Fake News” media indeed.
All that subtext gives the musical numbers much more of a bite. There’s a beautiful duality to the lyrics by Tim Rice. Is “You Must Love Me” a cold command or a declaration of love? Is “Don’t Cry for me Argentina” sincere or mocking? Madonna sings these numbers with perfect precision, letting audiences decide for themselves, making her performance that much more haunting.
OSCAR BAIT SONG:
After a bitter creative separation, Rice and Lloyd Webber reteamed to pen the new song “You Must Love Me” for the film. And surprise, it’s a strong ballad that seamlessly fits into the movie. The song deservedly won the Academy Award for best original song, and at the 1997 Oscar ceremony, Madonna performed the number despite being snubbed for a best actress nomination. And in many of the subsequent stage performances, the song has been added to the show.
ACTORS WHO CAN’T SING:
Thankfully, Alan Parker was wise to cast this with actors with strong vocal abilities, or in Madonna’s case, a singer who occasionally acts. There were doubts that Madonna could handle the difficult, operatic score. But she took months of vocal lessons, and it paid off. While I prefer Lupone’s version of “Don’t Cry for Me Argentina” and Paige’s “Goodnight & Thank You,” Madonna’s rendition of “Buenos Aires” and “The Waltz for Evita & Che” are sublime. It would be fun to put together an Evita playlist, with various versions from Madonna, Lupone, Paige, and the concept album Evita Julie Covington.
OTHER VERSIONS:
Evita has had many stage versions mounted over the years; you have a literal smorgasbord of options. For my money, I still enjoy the film version with Madonna and Banderas, as the lush, Latin flavored orchestration really highlights Lloyd Webber’s iconic score. More recently, there was a 2012 Broadway revival starring Elena Roger and Ricky Martin. Despite Tony nominations for best musical revival, the production closed early, not recouping its cost. Fortunately, every single version is available on streaming for your listening pleasure.