The movie could be viewed as the Yang Ying was the gruesome Kids by Larry Clark. Both focus on the daily lives of a group of Latino teenagers in a New York ghetto, with a natural tone particularly boosted by the decision of the two directors to incorporate the young cast from the same neighborhood without prior film experience. Sex (or rather, the obsession of the protagonists on sexuality), travel throughout the film, but while in Clark's film this search was the head of his characters (in the most violent possible) against a dense wall of nihilism with Latino youth Raising Victor Vargas , which begins only approach failed exercises, ending with some lofty goal of knowledge mutual love and understanding.
Victor lives in a tiny apartment managed by a grandmother so outdated that it seems out of Macondo, Melonie with his sister and his brother Nino (who, instantly, by the resemblance it has with respect to Victor, leaves no doubt that the main character's brother in real life).
The first capture enough of the film speaks about life and means of Victor, with the camera slowly inspecting her body, while wet her lips and fits in seductive poses. The eyes that are watching the fat Donna, a neighbor with whom he tries to lose her virginity, but the camera could perfectly be staging the projected image that the hero himself. And it really feels like Victor a lover, perhaps taking a post that was invisible from his grandfather (known for his abilities of hummingbirds), who has, as only information, some distant tales of his grandmother and faded in the dining room table from home. As the film began, the link of the character (actually, all the male characters) to women, is given pose in pose, losing any kind of naturalness, finishing by turning against him in his quest to conquer the exotic
Judy (whose appearance is in a curious middle ground between Jennifer Lopez and Chloe Sevigny, who began to become known for her role in Kids ), an exotic little girl notorious for being friendly with her suitors. From there, more or less the same familiar battle of the sexes, where Victor (parallel to his friend Harold with a friend of Judy and Charles, who attempts to woo the sister of the protagonist), the hard way, trying to win the heart of the girl. Sentimental Education by Victor (not for nothing called Raising Victor Vargas ) is what separates him from acting like a man (those posing the beginning, those ridiculous flatteries, such invitations to her room inelegant) to be a man , which also installs the film in the genre of " coming-of-age films " (stories that focus on the passage from adolescence to adulthood) with redemptive message.
The movie is certainly sympathetic, with believable characters, but certainly not something stereotypical (for "stereotypical" must understand "unreal", considering that there are few things more truly stereotypical courtship in times of adolescence) . In any case, the film departs from various movie cliches focused on poor Latino neighborhoods (over the footage there is no mention of those traffickers, unwanted pregnancies, diseases like the Yankees much fear), to stay in others. Throughout the whole film invisible prevailing notion about seduction rather annoying to the woman who is "not that I want to be with me, is that it resists his desire" that leads men to triumph over his women, mostly based on persistence and boredom. Still, there is less capable than the fault of the film as sexist cultural context in which it builds its history.
Beyond this, the lure of the movie (unlike Clark, who in interviews said they intended to do "The Great American Teen Movie") is modest, and the aesthetic and narrative Raising Victor Vargas correctly goes hand in hand with these purposes. It is not the first, and sure as hell not the last of these films, but still staying true to the world of conventions that preceded it, it lacks that "something" exceptional yes knew how to juice the Tunisian Abdellatif Kechiche in L 'Dodge , courtly love story between two pubescent an Arab neighborhood in France, which was able to capture something of their own, distinct language, values \u200b\u200band means of the nuclei of young immigrants.
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