Blame It On Rio- Woman On Top-A Film Review

DVD Review

By Sam Lowell 

Woman On Top, starring Penelope Lopez. Murilo Benico, 2000  

 

Every once in a while I like to take a run at a film whose premise is a bit off-beat, at least from the summaries that you get provided with these days before you grab a film for your viewing pleasure. That was the case with the film under review, Woman On Top, which could be taken two ways and in the end was, woman on top in the sexual sense and as on top in the thinly feminist sense. That dual meaning probably would have to be the case in a romantic comedy starring the vivacious Penelope Lopez because whatever today’s sensibilities about the role of women Ms. Lopez certainly is a good-looking woman and any director or screenwriter would be hard-pressed not to factor in her beauty as part of the story line.       

Woman On Top beyond the romantic comedy also is cinematic version of the magical realism that swept through the literary scene over the past few decades. Here is how that device was interwoven into the story line. Isabella, played by Ms. Lopez, from Salvador as a child found herself as a young adult in Brazil looking for work as a self-taught chef, well, not really self-taught but taught at the knee of the family cook, and honed in on one Tonniho, played by Murilo Benico, who was looking for a chef. Bingo they hit off in sleepy eyes bed sense and as a team making great food at Tonniho’s restaurant. Except Tonniho grabbed all the credit and Isabella grabbed a bunch of pots and pan. Same old, same old that had been going on in the male-female game since Adam and Eve, maybe before, and not just in Brazil.

Isabella so got fed up with the unequal treatment she blew town and headed for San Francisco to see if she could be a chef on her own terms. That was also the place where her childhood friend Monica lived. Monica, an African-American woman, turned out as the film progressed to be an elemental fountain of wisdom who by the way was the now seemingly obligatory transsexual figure that many films include to prove their multicultural credentials. But we will stick with her wisdom part here. Isabella has trouble getting a job as a chef until she was discovered by a television producer at a cooking school where she was teaching while looking for a job who sensed that a sensual drop dead beautiful teacher who could cook too would be a winner on the local television station he was connected with. He persuades her and naturally she is a hit.           

A hit as a chef but still busted up about her failed marriage which hung heavily over her. This is where the magical realistic portion comes in. Through Monica she seeks help from a conjure woman who recommended that she give a “sacrifice” to a Brazilian goddess of the sea, Yemanjo. Presto she is done with that big oaf of a husband. Seemingly on the rebound she took a shot at the producer who discovered and who was smitten by her as well but something still seemed to hold her back.

Meanwhile our boy Tonniho “got religion,” or started to, trying to figure out how to get his Isabella back. So he left his going broke without Isabella restaurant and headed for San Francisco to win her back in classic film romance manner. Part of the problem though was that he had offended Yemanjo, another magic realistic aspect of the film, and couldn’t get right with Isabella not only because of Yemanjo’s banishment of Tonniho was still in effect but he had not made amends for his disrespect of the fair goddess. He finally in desperation made amends and thereafter Isabella decided that she needed to have the wish she made to Yemanjo rescinded. Ho hum they fall back together, get back in the hard market to crack Frisco culinary scene and lived happily ever after. Assuming there will be no more transgressions against Yemanjo, the real star of the storyline. If magical realism and romantic are your thing and if you like looking at a distressing beautiful woman and a good-looking man (we will reserve judgment on Monica’s looks, okay) give this a look see if you have a minute.