Buenos Aires — “El día de mi suerte” begins with Hector Lavoe – or it looks like him – dressed in white suit, putting on a ring, and dark glasses, as he prepares to dance. Cut to Lavoe’s white shoes, cracked and grimed as the camera pulls back to an establishing shot of the figure in wha looks like a hospital and a credit establishes that this is a psychiatric hospital in Nuevo Callao district of Lima in 1986 Peru.
The figure is indeed not Lavoe but Toño, a downbeat Lavoe impersonator who moonlights singing at locales in Nuevo Callao, including the hospital where his sister is interned, suffering severe depression.
By day, however, he’s a head-bowed, lowly professor helping for students to cram for university entrance exams, living in his grimy family flat, abandoned by his girlfriend who’s emigrating to Spain, unable to sell sacks of sugar piled in his home,...
The figure is indeed not Lavoe but Toño, a downbeat Lavoe impersonator who moonlights singing at locales in Nuevo Callao, including the hospital where his sister is interned, suffering severe depression.
By day, however, he’s a head-bowed, lowly professor helping for students to cram for university entrance exams, living in his grimy family flat, abandoned by his girlfriend who’s emigrating to Spain, unable to sell sacks of sugar piled in his home,...
- 12/3/2019
- by John Hopewell
- Variety Film + TV
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