In all fairness to Alan Parker, he based his adaptation of EVITA on the original 1976 concept album and not the Harold Prince staging. This explains the inclusion of the "The Lady's Got Potential".
As a fellow Argentine (my family roots are in Argentina and both my parents have their own experiences as children during the Peron regime), I can't express how proud I was (and still am) about Alan Parker's adaptation of EVITA.
I was exposed to the original concept album upon its release in 1976 and loved it enormously. I experienced the original Broadway production in 1980 when I was 15, and though it resonated well with me, I wasn't pleased with Patti LuPone screaming and angry Eva. She recorded the score differently than how she performed it 'live'.
Anyway, for all the obvious reasons... I followed all things EVITA related for years, including all the hopeful film versions that never happened. I remember vividly when Oliver Stone was set to direct it, with Meryl Streep set for Eva and Paula Abdul onboard to choreograph. Stone couldn't get permission to shoot on location in Argentina (which he was dead-set on), so the film was shelved. He went on to direct THE DOORS, which Abdul provided the choreography for since she was on contract with him.
Jump a few years later and Alan Parker is now directing the film. Michelle Pfeiffer is set for Eva. Parker first planned on shooting the film on sound stages in Los Angeles, visits Argentina and meets with government people, get permission to shoot in Argentina, Pfeiffer not wanting to travel bowes out. Madonna heavily campaigns and gets the role.
Without covering the film's progress in production I'll say why I love the film so much.
The sharp detail Alan Parker showcased in the film is phenomenal, especially for anyone familiar with the real Eva Peron and the history of Argentina. All the months of preparation the production spent in Argentina shows, from the look of Buenos Aires in the 1930's and 40's, to the detail of Eva Peron. The Argentinean government even gave the production access to Eva's wardrobe, still preserved in vaults. It was intended for Madonna to wear a few of Eva's actual dresses, but due to their different body structures, replicas were done. The House of Ferragamo also recreated several of Eva's shoes for the film, along with other design houses (Dior, Chanel, etc.). Madonna also sports in the film a replica of a small pin Eva always wore. The addition of adding Eva's family to her entourage (especially Eva's brother, Juancito) added visual accuracy to the film as Eva was always with her family around her. Juancito is the thin-mustached balding man always next to Eva in the film... just like the archival photos of the real Eva Peron. No words can describe Parker's recreation of Eva's funeral at the film's beginning. The detail is so exact that anyone who has seen archival footage of the real thing will know how precise a recreation it is. Chilling.
I was not only impressed but pleased with the actors selected for the film. Though Banderas had sung briefly in his American film debut THE MAMBO KINGS, this was his first full score... and I loved it. He was in his element singing his songs. Same thing was hearing Madonna sing those songs. Yes, some keys were adjusted... but this was the first time we were hearing her sing 'legitimately'. All her work with voice coach Joan Lader (LuPone's voice coach, too) showed and it was impressive. Her resemblance to the real Eva Peron helped enormously. Jonathan Pryce's Juan Peron was believable, even though he physically didn't resemble the real man... you accepted him as Peron instantly.
Even after all these years, I still look at the film proudly, regardless what people say today about it. It holds a dear place in my life and my family's, for all the good and the bad. If anything... its a visual postcard of the Argentina that once was and of a time in its history. There are many different interpretations of who Eva Peron was (I have my own take on that), and this was one person's. Alan Parker's.
Viva Peron!
