| Havana | |
| Director: | Sydney Pollack |
| Producer: | Sydney Pollack Richard Roth Ronald L. Schwary |
| Story: | Judith Rascoe |
| Screenplay: | Judith Rascoe David Rayfiel |
| Starring: | |
| Music: | Dave Grusin |
| Cinematography: | Owen Roizman |
| Editing: | Fredric Steinkamp William Steinkamp |
| Studio: | Universal Pictures[1] Mirage Enterprises Grimes Production |
| Distributor: | Universal Pictures |
| Runtime: | 144 minutes |
| Country: | United States |
| Language: | English |
| Budget: | $40 million |
| Gross: | $9.6 million |
Havana is a 1990 American drama film starring Robert Redford, Lena Olin, Alan Arkin and Raul Julia, directed by Sydney Pollack with music by Dave Grusin. The film's plot concerns Jack Weil (Redford), an American professional gambler who decides to visit Havana, Cuba to gamble in 1958 on the eve of the Cuban Revolution.
It is the eve of the Cuban Revolution's culmination. On Christmas Eve, 1958, aboard the boat from Miami to Havana, Roberta Duran enlists the aid of Jack Weil in smuggling radios for the revolutionaries in the hills. Weil agrees only because he is romantically interested in her. When they rendezvous for the "payoff," Roberta reveals that she is married, dashing Weil's hopes. In Havana, Weil meets a Cuban journalist acquaintance and during a night on the town, they run into Roberta and her husband, Dr. Arturo Duran, a revolutionary leader. Duran asks Weil for further aid for the cause. Weil turns him down.
After a night of debauchery, Weil reads a newspaper account of Duran's arrest and death. In shock, he continues with the planned poker game, coincidentally meeting the head of the secret police. He learns that Roberta was also arrested and tortured in custody. He pressures another player in debt to him to obtain her release. Shaken by her husband's death and her own experience in jail, she lets him shelter her in his apartment, but disappears that afternoon.
Realizing that he is in love with Roberta and encouraged by an old gambling friend, Weil drives into Cuba's interior to find her at Duran's old estate. He persuades her to return with him to Havana and to leave Cuba with him. When she asks, he explains that a lump on his arm contains a diamond that he had put there in his youth as insurance. He makes arrangements for her to leave Cuba via boat, but on his return to the apartment, he is assaulted by two Cubans, who inform him that Duran demands he get Roberta out of the country. Weil has a CIA acquaintance, Marion Chigwell, who confirms that Duran is still alive. He intimidates Chigwell into working with him to free Duran.
Pretending to work for the CIA, Weil goes to see Duran, who is being held by the chief of the secret police. He tells the chief that Washington has plans for Duran and wants him released, with a payoff of $50,000. Weil goes to a doctor and then a jeweler to sell the diamond to raise the bribe for Duran's release. He tells Roberta, who had decided to make a life with him, that her husband is alive. In shock, she leaves on her own to find her husband. Meanwhile, Weil blows the big game with high rollers, for whom he had been angling since he arrived in Havana. The casino's manager, Joe Volpi, forgives him, knowing he has made rescuing Roberta his priority.
On New Year's Eve, 1959, the revolutionaries have won. The upper class, government officials, and the secret police all make a mad dash to leave the country. The people pour into the streets, celebrating the victory by trashing the casinos and dancing. Weil and Volpi agree that it is time for them to leave. The next morning, Weil is in a restaurant preparing to depart. He sees Chigwell, who informs him that he is working on a new book, The Cuisine of Indochina. Roberta shows up to bid him farewell. She sees the bandage on his arm and discovers what it cost him to save her husband for her. She remains with the revolution, and he has been changed by it.
Four years later in 1963, Jack drives down to the Florida Keys and gazes across the sea toward Havana, hoping to see a boat bringing Roberta. He knows the ferry is no longer running. However, he does this every year in the hope he might someday see Roberta again. He also realizes that the changes in Cuba are being echoed in the United States.
Filming began on November 22, 1989, and was completed on April 28, 1990. Sydney Pollack hoped to film in Havana. However, U.S. law would not allow the producers to spend any U.S. dollars in Cuba, U.S. citizens could not legally enter Cuba, and relations between the U.S. and Cuba in 1989 were not conducive to filming an American motion picture in Havana. Thus, it was decided to make the entire film in the Dominican Republic. The vegetation was the same, and Santo Domingo offered certain architectural similarities, though not a wide boulevard like Havana's famous El Prado (Paseo de Marti). The end scene was filmed in Key West, Florida.
Tomás Milián, who played the Batista's head of secret police, had lived in Cuba during the 1950s and commented that the film recreated Havana during the Batista regime's last days in great detail. Many of the extras were exiled Cubans who had moved to the Dominican Republic. According to Sydney Pollack, "The atmosphere became quite emotional... They remembered the old days in Havana. Our set took them back 30 years."
The film's main set, informally called "The Big Set", was a quarter-mile long (400 m) street surrounded by façades representing casinos, restaurants, and hotels. Interior scenes were shot in replicated casino floors, room suites, and cafes. The Prado was reconstructed at a former airbase in the Dominican Republic. To replicate it, a team of about 300 tradesmen was used, and over 80 neon signs needed to be made in the U.S. and shipped to the Dominican Republic. The set took 20 weeks to construct. Costume designer Bernie Pollock had to outfit 2,000 extras with costumes and needed 8000–10,000 costumes for frequent changes during different scenes of the film. Besides 1950s period clothing, there were large numbers of hats, accessories, jewelry, and gloves, along with 1950s Cuban military uniforms. The wardrobe items were brought in from both Los Angeles and England. About one hundred 1950s vintage American automobiles, buses, and trucks appear in the film.
The version of "Rum and Coca-Cola" by The Andrews Sisters is a re-recorded version from 1961 from their DOT Records album Greatest Hits, which was recorded two years after the film's setting.
Raul Julia chose to remain uncredited because the film's producers would not give him above-the-title credit alongside Robert Redford and Lena Olin.[2]
The reviews were generally negative. The film has a 27% rating on Rotten Tomatoes based on 26 reviews with the consensus: "Handsomely produced and dramatically inert, Havana squanders its convincing recreation of pre-revolution Cuba by using it as a disconnected backdrop to a turgid romance."[3] On a budget of $40 million,[4] Havana made only $9 million in the United States and Canada but grossed $27 million overseas for a worldwide total of $36 million.[5] [6]
The musical score received Golden Globe,[7] Oscar,[8] and Grammy nominations.[9] It was one of Dave Grusin's more acclaimed scores.