Musicals have been used as a medium to convey all sorts of different stories, from the Old West to cats to one of the Founding Fathers. But it takes a certain kind of imagination to think that the story of a cartel boss wanting to transition into being a woman as she quits the drug business is a prime candidate for an original movie musical, as is done in Emilia Pérez.
The person with that unusual thinking is French writer/director Jacques Audiard, who in addition to making the film a musical, decided to do it almost entirely in Spanish, a language he doesn’t even speak. Adding to all the other atypical aspects, the main character of the film is not the one after whom the film is named. Instead, it’s Rita Mora Castro (Zoe Saldaña), the lawyer hired by cartel boss Manitas Del Monte (Karla Sofía Gascón) to help her achieve her dream of becoming a woman.
Of course, that dream comes with consequences, most importantly how to separate the soon-to-be Emilia Pérez from her wife, Jessi (Selena Gomez), and her kids without arousing suspicion. The solution, as well as the “death” of Manitas, is elegant, but after a period of time Emilia finds herself longing for her kids again. Rita re-enters to set up the arrangements, setting in motion a series of events that are both predictable and unpredictable.
The musical sequences of the film are fascinating, mostly because they don’t adhere to the rules typically used in musical films. More often than not they pop up out of nowhere, with a character speaking normally and then deciding that the next line needs to be the start of a song. This allows Audiard to utilize all sorts of locations as the settings for the sequences, as well as the incorporation of unorthodox elements, such as the loading of guns as musical beats.
Even though ninety percent of the film is in Spanish with English subtitles, none of the feeling of the story is lost in translation. Several of the songs are certified bangers, with the repetition of phrases giving them a great rhythm even if you have to keep glancing down to understand what they’re singing. Each of the main three characters get a chance to shine even though none of the songs require the actors to belt them out.
Audiard does a subtle job of commenting on the experience of being a transgender woman in the position that Emilia finds herself. Her desire to live her life as she’s always wanted is in conflict with still wanting to see her kids, as she doesn’t want to reveal the person she used to be. Her personal life is also in conflict with a newfound urge to help families that were victimized by Manitas. The ever-changing story keeps both the characters and the audience on their toes.
Saldaña, whose time in the worlds of Star Trek, Marvel, and Avatar the past 15 years has been her biggest exposure, digs deep into this character, putting on a compelling performance. So too does Gascón, a Spanish transgender actor who embodies every aspect of her role in a manner only someone like her could. Gomez seems slightly miscast, but she has enough solid scenes to justify her presence in the film.
Emilia Pérez is a film that upends expectations at almost every turn. While it might have also worked as a non-musical, the music side of it supports the story in unconventional ways, drawing the audience deeper into a story that itself is out of the ordinary.
---
Emilia Pérez is now streaming on Netflix.
