Some Curious Choices in ‘Arturo Sandoval Story’

A marginally satisfying bio-pic based on the life of virtuoso Cuban trumpet player Arturo Sandoval, “For Love or Country: The Arturo Sandoval Story” suffers the inevitable consequences of the paradox it has created. Those who are not familiar with Sandoval’s artistry or the illustrious place he occupies in the history of Afro-Cuban music will probably think of this leisurely paced two-hour movie as a tad soporific. Those, on the other hand, who have followed Sandoval’s career from his days with seminal ‘70s group Irakere are likely to be more than a little perplexed at some of the narrative choices.

The production’s biggest asset is a compelling depiction of Sandoval by Andy Garcia, who has placed his good looks, considerable acting skills and unending enthusiasm at the service of this project. A self-proclaimed Afro-Cuban music fanatic, Garcia served as one of the film’s executive producers and even played the bongos on most of the tunes in the soundtrack. The sincerity of his passion is the film’s unifying force.

The story begins 10 years ago in Athens, where Sandoval, while on tour with Dizzy Gillespie, visits the American Embassy to request political asylum and plan his eventual defection. As he is being interviewed by a fussy, unpleasant embassy official, Sandoval remembers his life in Cuba, a life filled with music, popular recognition and lots of moral oppression.

Considering that Irakere was a highly respected group both on the forbidden island and abroad, the interviewer has a hard time understanding why Sandoval feels that he is being persecuted by the same government that paid for his musical education and sponsored the group.

He’s not alone.

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While screenwriter Tim Sexton and director Joseph Sargent do everything in their power to convey a sense of urgency and despair, the motives for Sandoval’s defection are somehow introspective and therefore difficult to express on screen. They have to do with the right of an artist to enjoy absolute creative freedom and with the bitter failure of the Cuban revolution to deliver what it so vehemently promised.

It’s not exactly the kind of stuff that makes for hair-raising, unforgettable drama. And although a modicum of suspense is conjured up during the show’s climax, “The Great Escape” this is not.

To complicate matters further, the script makes only passing references to the remarkable career of Irakere, one of the first groups to successfully fuse Afro-Cuban rhythms with jazz and rock ‘n’ roll. Granted, this is Arturo’s story. But the film fails to point out the importance of keyboardist Chucho Valdes, the band’s leader and musical director. In fact, it chooses not to mention that the group continues to flourish to this very day, even after losing Sandoval and notable saxophonist Paquito D’Rivera.

Perhaps the biggest disappointment, however, is the film’s unsuccessful attempt at conveying the essence of the Latin experience, even though there’s plenty of people hugging and lots of “chica” and “m’hijo” being uttered with enthusiasm. There’s no doubt that the people involved in this project are in touch with their Latino roots. The problem is their inability to translate these noble ideas into a cinematic mood that faithfully expresses the real heartbeat of Latin America.

Very few films have managed such a feat (Ruy Guerra’s “Erendira” and Alfonso Arau’s “Like Water for Chocolate” come to mind). At the very least, “For Love or Country” gets high marks for trying.

* “For Love or Country: The Arturo Sandoval Story” can be seen on HBO tonight at 9. The network has rated it TV-PG-ACAL (may be unsuitable for young children, with special advisories for adult content and adult language).