‘Biutiful’ lives up to its name

By Isaac Siegemund-Broka
Web Entertainment Editor

When walking into the film “Biutiful,” it’s hard to know whether to expect a poignant portrait of the seamy side of life or a character study of a man who walks the invisible line between life and death. Director Alejandro González Iñárritu brings these together in a seemingly impossible feat in his lengthy but powerful film, which opened in limited release on Dec. 29.

“Biutiful” tells the story of Uxbal (Javier Bardem), a man with almost nothing. He is dying of cancer and incessantly struggling with his unfaithful, bipolar wife.

Uxbal attempts to hold on to the few things he has: his two young children and a strong sense of morality and loyalty. He is constantly fighting with this latter aspect; his work deals with the employment of illegal immigrants in activities ranging from construction to drug dealing. Bardem excellently portrays Uxbal as the confused, depressed man he is, and will earn himself an Oscar nomination for Best Actor.

Maricel Álvarez, who plays Uxbal’s wife, impresses audiences as a woman caught between her desperate desire to be loved by her children and her need to “have fun” with sex and alcohol.

Thematically, “Biutiful” is messy and depressing but somehow as beautiful as its name suggests. As with many of Iñárritu’s films, connections between unrelated lives come together. But even more present is the concept that the line between life and death barely exists. People live close to the edge, die easily and can only leave behind so much. Uxbal embodies this idea with a bizarre gift for speaking with the dead, the confusion surrounding his father’s death, and his approach to death as he wonders what will become of his children when his life ends.

The peculiarly moody but appropriate and expressive score of two-time Oscar winner Gustavo Santaolalla runs throughout the film. The musical work not only complements Iñárritu’s cinematography; it adds even more feeling and color to each scene.

The movie’s strongest point is its cinematography. Blurred, vibrantly-glowing portraits of Barcelona and artistic lighting choices make “Biutiful” one of the best-looking films of the year. Shots are often repeated as the film progresses, creating interesting contrast while illustrating the lack of variety in Uxbal’s bleak existence.

Iñárritu combines these aspects into a coherent and affecting piece. Had “Biutiful” not been slated for “Best Foreign Language Film,” it would undeniably deserve a nomination for “Best Picture.” The film is rated R and playing in select theaters.