When Andy Garcia produced, directed and starred in “The Lost City,” his 16-year project about Havana in the 1950s, the critics called it a love letter to Cuba.
But that description misses an important element in the story, he says.
“I view it as a tragic poem. The movie celebrates the culture and music and way of life that no longer exists,” said Mr. Garcia, by telephone from Los Angeles on Monday upon the release of the movie’s soundtrack. “I had an obligation to tell that story.”
Born in 1956, Mr. Garcia fled Cuba in 1961. Last summer, dictator Fidel Castro fell ill with a still-unspecified gastrointestinal illness. Now his brother Raul is in charge, and there have been multiple visits to Cuba by the leftist Venezuelan president-for-life, Hugo Chavez.
Yet, Mr. Garcia remains optimistic that the island will move toward democracy when Mr. Castro dies.
“I believe so. The situation there is so desperate. There will be a natural transition,” he says. “He rules by personality,” and Raul Castro clearly lacks that charisma, he explains.
Mr. Garcia pauses for a few moments, then says almost inaudibly, “I have to hope.”
Cuban history is not really taught in American schools, so most people don’t realize that the revolution began as a push to return to the 1940s constitution, he says.
“It’s tarnished by the betrayal of democracy,” Mr. Garcia declares, explaining that once Fidel Castro ensconced himself as leader, he deceived many and turned his back on democracy. The only balm for these historical wounds is the music.
The music, the soul of Cuba, along with the island’s culture and traditions, still live on in America, he says. It was this love of music that compelled him to make “The Lost City.”
Fico Fellove, Mr. Garcia’s character, owns the nightclub El Tropico, which features amazing Cuban music and dancing. With all due respect to Mr. Garcia, the music is the star of the film.
The soundtrack, totaling 45 songs on two CDs, is an outstanding collection. Latin American music lovers will recognize many songs by old favorites, such as Ernesto Lecuona, Alfredo “Chocolate” Armenteros (who actually plays the trumpet in the opening and closing of the film), Israel “Cachao” Lopez (the real king of the mambo), Beny More, Rolando Laserie, Lazaro Galarraga, Bola de Nieve, Maria Teresa Vera, Duke Ellington (“Limbo Jazz”) and others. Mr. Garcia also composed music for the film.
But those mambos, guajiras and rumbas rule the CDs. Those multilayered, heart-pounding rhythms can generate heat from a skeleton.
“The music is the protagonist,” Mr. Garcia says. Fico, himself, is the very embodiment of Cuban music. “It is the consciousness of my character.”
When asked what his favorite songs are, he roars with laughter. “That’s like asking me to pick among my children,” he says. “The Lecuona stuff is magical,” he offers, after a long pause.