It cannot be said that the original series was extremely popular in the United States, especially on the West Coast. What’s more; I didn’t know of its existence until I found out that “Aida and Return”, the movie that premieres this weekend in
AMC Orange 30, was inspired by “Aída”, a television show that, as I have read in recent days, was immensely celebrated in its country of origin and that, for unsuspected reasons, had a decisive impact in Cuba.
What I also know now is that “Aída” lasted almost a decade and had 237 episodes spread over 10 seasons, so it is impossible for me to really catch up with a production that can still be seen through this link.
But, before watching the film and writing this review, I watched at least three chapters, and that allowed me to get somewhat closer to the spirit of an eminently popular work that, despite the objections that may have been made about it, was full of really funny moments.
I also learned from comments on the networks that many of the fans of the series were disappointed to learn that the new film is not an extension of what was seen in the original work, but rather a ‘meta’ story that narrates what would have supposedly happened behind the scenes if the same series had not ended more than 10 years ago, that is, presenting everything from the perspective of the actors and creators involved.
The result is a work that is considerably more serious than expected, or, in any case, much more measured when it comes to comedy, which makes sense given that, although it is still a comedy, it moves away from the crazy and noisy tone of its roots to develop a story with an almost realistic intention that may not convince those who were hoping to see more of the same, but that, in any case, demonstrates the ability of its director Paco León to delve efficiently into dramatic terrain.
It should be noted that León was not the creator of the series, but one of its protagonists, since he was entrusted with the role of Luisma, a former drug addict with little intellectual flight that allowed him to become a particularly successful performer. After directing four feature films that we have not seen (one of them, “Rainbow”, with a musical theme, is on Netflix), the actor and director decided to take a revisionist look at the project that launched him to fame, also taking charge of the script alongside Fer Pérez.
Not being completely familiar with the series prevents me from judging the film in the way I would like, although, in any case, I was able to recognize several of the references it makes and enjoy its successes in the representation of the television environment, especially with regard to the need that some actors have to continue doing the same thing in order not to lose the privileges they have earned and the fatigue that others may feel in the face of the seemingly endless repetition of work schemes that no longer interest them.
On that side, León, who also acts here, does things very well, and knows how to give all the space she deserves to Carmen Machi, who played the protagonist Aída and who, at a certain point, actually left the series, which continued to be recorded and broadcast without her presence for simply commercial reasons.
Machi, who has since become “Chica Almodóvar” and involved in various high-profile projects for the big and small screen, undoubtedly recovers in her current role the feeling of boredom that she experienced when she decided to leave the program, but she probably combines it with elements typical of Aída herself, since, even though she has the same name as the character, it would be foolish to think that she completely represents herself.
The same thing happens with the other members of the cast, including Miren Ibarguren, Eduardo Casanova, Melani Olivares, Mariano Peña, Pepe Viyuela and others, who also appeared in the long-running series and who, rather than trying to imitate what they really are, seem to have a wonderful time giving life to a script that is not limited to delving into nostalgia.
And the fact is that, despite being essentially aimed at lovers of the series (there is little point in watching it if the television show is completely unknown), the film makes jokes about current issues (it talks about sexual harassment, uncontrolled AI, the sometimes disastrous power of social networks) and even dares to review the valid accusations that were made against the original work, related (as one of the characters directly says) to its “bad taste”, its “screaming tone” and its “reinforcement of stereotypes” regarding women and the LGBTQ+ community.
Of course, in the end, the tone ends up being conciliatory and even concessive, because everyone involved seems to be united in the affection they feel for the show that changed their lives, regardless of the fact that it was unnecessarily prolonged, as usually happens with titles that the audience refuses to abandon.
