“I wasn’t seeing him, I was seeing the character. “I was really scared of him,” admits Cruz. Both actors deploy a combination of onscreen chemistry and tension to create the best scene in the entire movie.
In one scene, Vallejo comes to Escobar for help. His transformation was such that even his own wife, the actress Penélope Cruz – who plays Virginia Vallejo in the movie – began to fear him. Later, I started counting the days until the torture would end I wasn’t seeing him, I was seeing the character. “It drove him crazy he brought an entire society to its knees, but he never managed it,” says Bardem. I’d already chewed and digested it pretty well,” says the actor, adding that he was helped along by images he constructed about Escobar, such as viewing him like the drug lord’s own favorite animal, the hippopotamus – “A quiet, funny animal, but the most dangerous one in Africa.”īardem also noted Escobar’s constant need to get respect from others. “Pablo had always been under construction.
Bardem was now ready to get under the skin of the most dangerous drug trafficker in history. And while she was at it, she resuscitated the old León-Bardem project: this was the authentic vision that they’d been searching for. In her book Amando a Pablo, odiando a Escobar (or, Loving Pablo, Hating Escobar), this Colombian journalist explored her own sentimental relationship with the criminal lord. He says that the scripts always portrayed the father of drug trafficking like “a fairytale character.” Yet Escobar was as real as the terror that he sowed. The offers kept coming, but Bardem rejected them all. Javier Bardem, in a scene from ‘Loving Pablo.’ I was fascinated by the fact that he was a tremendous monster, but with contradictions,” says Bardem, 48, who is known internationally for his roles in movies such as No Country for Old Men – which earned him an Academy Award – The Sea Inside and Skyfall. For a decade, both men had been trying to make a movie about the Colombian drug lord Pablo Escobar. No wonder Bardem was excited about his two movies being shown here: Mother!, from Darren Aronofsky, and Loving Pablo, from Fernando León de Aranoa.īut it may be more than just that. The screening rooms are packed, and the screens enormous. Granted, there is little room for pessimism here at the Venice Film Festival. I was fascinated by the fact that he was a tremendous monster, but with contradictions
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