WATCH THE TRAILER HERE
First, the Recap:
Moving through life in search of that certain, totally special someone. It’s a quest we’ve all undertaken (some of us still are, too) and it’s one that yields everything from frustration and loss of hope to, ideally, the utter elation of discovering what we’ve so strongly desired for so long. Yet, in this journey, one must still take care that even the most innocently deep-seated need doesn’t cloud our judgement and common sense, steering us down a wrong path that could lead to further hurts rather than loving hearts. Disheartened, lovelorn New York City dance instructor Marlene (Marianne Hettinger), needless to say, has had her fair share of dreamy-to-disaster attempts at love. But, when unexpectedly connecting with a handsome therapist named Dr. Jesus Goldstein (Freddy Bosche), things finally appear to be on the up and up–right?
Next, my Mind:
As one might gather from the project’s wonderfully quirky, playful title, we’re indeed treated to tangos, mangos, twirling, whirling, twists, travel, and a myriad of other eccentricities primarily played for both dry and straight-up witty comedic impact on the viewer through this indie feature film from writer/director/producer Marianne Hettinger (who, you know, happens to also be the lead actress to boot!), executive producer John A. Gallagher, and associate producer Michele Civelli. Now, mind you, as with so much of independent cinema, there’s a level of dramatic focus found here as well, but it’s almost like watching an amalgamation of British (again, dry) and American (flat out silly) style comedy while at times simply choosing to venture into the outright obscure and unconventional in telling its tale, and this is precisely why the genre is so continuously appealing to this critic, with this effort being no exception to that rule.
Focused on one woman’s sometimes trippy, sometimes hilariously over-the-top, sometimes borderline disturbing experiences to gain the man of her dreams (assuming he’s actually out there), what then strikes us is that through it all, we’re entreated to some very relevant, deeply truthful nuances about the whole relationship game and the means by which we tend to allow ourselves to either fall into and then find out just how wrong we were about someone that we thought would be the answer. The narrative has so many thematic sidebars associated with this, such as the emotional hardship of letting go, coping with loss, how we attempt to rebound from one hurt only to potentially end up in another, while also being frank and jocular with the notion in looking at exactly how we pursue what we THINK is ideal, when even this can quickly be exposed as a facade.
One of the more laugh-inducing elements found throughout the film are seen through the men Marlene comes upon as possible solutions to her search, and this allows the narrative to poke some fun at various men’s insecurities to the kaleidoscope of personal beliefs and methods our leading lady is running into, from trying to “will” her perfect beau into existence, to visualization, to shamans, to guru-based teaching, to tantric sex (just a warning, there is one sequence of fairly graphic nature with this particular concept, played for laughs really, but based on your preferences and tolerance of this type of thing, you have been advised). It meshes into a cleverly devised way to paint a portrait of just how “perilous”, uncertain, and perhaps a little extreme the search for TRUE love can be. The film likewise enjoys utilizing highly surreal imagery to symbolize inner turmoil, the chaos and stress of an unsettled mind, playing out our fears that could just be imagined–or not.
Another facet found in the film’s ever-fluctuating visual tool bag are the multiple dance sequences which so beautifully showcase Hettinger’s real-life dancing abilities while offering them as random extensions that illustrate her mindset. By the finale, things have really gotten JUST a tad offbeat, even idiosyncratic in nature, with this critic freely admitting the film ALMOST lost me, but ultimately it wraps up quite nicely and puts a final little spin on things that was satisfying. As to the mangos, well, watch the film to discover their tie to the insanity. IN a grander scope, the film is visually solid all the way through, the camerawork embraces the characters as needed with precision and intent, and likewise the plethora of musical interludes, often paired with the skillfully executed dance sequences, allows for some blissfully engaging fun, emotively potent moments in the midst of the other unfolding events depicted. It’s the beauty of dance’s expressiveness that makes the sequences it’s involved with a welcome addition.
There can be no denying that Hettinger is a magnificently alluring presence on screen, both in her physicality, stunning almost exotic beauty, and her sheer ability to entertain via the primary role here of Marlene, a woman whose life seems quite set and fulfilling–if she didn’t have a slightly blatant obsession with finding the ever-elusive “ideal man”. Trekking through an eclectic menagerie of potential “candidates” to become her “it” guy, the exercise in futility it produces ends up leading her to a therapist who could actually be the solution. But, even as she tries to maintain her sanity while exploring the newfound relationship, what transpires is far from what she would have ever anticipated–or wanted! To say much more would be venturing into Spoilerville and this critic will NOT do that. Suffice it to say, Hettinger distinctly and with eloquently meaningful, equally comical ease navigates us through Marlene’s plights, and keeps your attention throughout thanks to her artistry and dancing talents.
Bosche honestly steals specific scenes that truly have to BE seen in order to fully appreciate both the acting chops and outright hilarity they elicit through his role here as Dr. Jesus Goldstein, a seemingly harmless therapist whose path crosses with Marlene’s and subsequently leads to them possibly having found the resolution to her path she’s so desperately been seeking. Even as he tries to do what he can to ease her stormy mindset when it comes to relationships, his own personal peculiarities could be either a balm or a bane for her. It’s a fantastically understated performance in many respects that Bosche delivers but again, there are several key instances where his character exhibits a specific trait that is an absolute riot. Again, it’s a testament to Bosche’s abilities as well as just being able to maintain a straight face while executing it. You have to watch the film to know more, but it’s just epic what Bosche brings in those moments along with an otherwise already solid performance.
Supporting roles are aplenty, wonderfully acted, and arrive through “All My Children” veteran Michael E. Knight, Patrick Stephenson, Brian Vincent, Nick Kosovich, Philippe Quint, and David Parsons, plus a host of others. So, in total, “Mango Tango” is assuredly a prime example of arthouse cinema to its core, complete with all the accompanying unconventionality yet undeniable freshness OF its oddity and unapologetic means by which it flourishes within to express a journey we all, in some form, encounter in life, while then throwing in the humorously outlandish elements and worthy to be seen dance scenes to create a total venture into what indie film excels at–going beyond mainstream.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
