Poetic Film Review: Viva Maria! (1965)

Beneath the sun of Central America’s skies,
Two Marias rise, their laughter defying the lies.
Bardot and Moreau, icons ablaze,
In a revolution of light, they set the stage.

A tomboy with bombs, a dancer with grace,
Their paths entwined in a chaotic embrace.
From vaudeville’s spark to rebellion’s flame,
They rewrite the rules of a man’s tired game.

The Western’s bones, reshaped, reborn,
With women as heroes, the old world torn.
Yet humor stumbles, the tone unsure,
A satire that falters, its edges obscure.

Explosions and laughter, a vibrant cascade,
Henri Decaë’s lens captures the parade.
Delerue’s score, a grand, sweeping tide,
Yet the script’s unevenness struggles to hide.

Flores, the rebel, a shadow too faint,
His romance with Maria feels oddly quaint.
Religious jests and erotic display,
A clash of ideas that muddle the play.

Yet still, there’s a spark, a feminist fire,
Maria I’s freedom, her bold desire.
A challenge to Bond, to machismo’s reign,
In her, the Sexual Revolution’s refrain.

A product of its time, a relic, a dream,
Of sixties’ upheaval, a cinematic stream.
Though flawed and uneven, it dares to ignite,
A curious gem in cinema’s night.

So raise a glass to Viva Maria!’s might,
To Bardot and Moreau, their stars burning bright.
A film of its era, a bold, messy art,
A testament to the revolutionary heart.

(Note: The review in its original form can be read here.)

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