Ah, the allure of escape. Remember that feeling? Maybe triggered by a truly terrible day at the office, or perhaps just the ambient suburban drone, but that deep-seated urge to just drop everything, grab a passport (or maybe not even that), and disappear somewhere warm, chaotic, and utterly different. In 1992, just after charming the world (and the Academy, winning Best Foreign Language Film) with the gentle, sun-drenched Mediterraneo (1991), director Gabriele Salvatores tapped right back into that vein, but swapped the idyllic Greek island for the dusty, unpredictable energy of Mexico. The result? Puerto Escondido, a film that feels less like a gentle escape and more like a frantic, hilarious tumble down the rabbit hole, clutching a briefcase full of ill-gotten gains.
From Milanese Banker to Mexican Fugitive
Our unlikely adventurer is Mario (Diego Abatantuono, a giant of Italian comedy and frequent Salvatores collaborator), a buttoned-down Milanese bank executive whose life takes a sharp left turn after witnessing a violent crime and, in a moment of sheer panic, making off with a significant amount of cash. His solution? Not the police, not a quiet life under the radar in Italy, but a one-way ticket to Puerto Escondido, Mexico – a place he seems to have picked almost at random, seeking oblivion. It's the kind of sudden, life-altering decision that felt both terrifying and strangely appealing back when the world seemed a little bigger and getting lost felt like a genuine possibility. Abatantuono is brilliant here, his hangdog expression and air of perpetual bewilderment perfectly capturing the absurdity of his situation. He's not a tough guy, just a man utterly out of his depth, trying to navigate a world operating on rules he doesn't understand.
Sun, Sand, and Spiraling Chaos
Of course, paradise isn't quite the tranquil escape Mario envisioned. Mexico, in Salvatores' hands, is vibrant, loud, occasionally dangerous, and populated by characters who make Mario’s previous life look positively monochrome. Almost immediately, he crosses paths with Alex (Claudio Bisio, another Salvatores regular, bringing his trademark manic energy) and Anita (Valeria Golino, who audiences might recognize from Hollywood hits like Rain Man (1988) or Hot Shots! (1991)). This pair of fellow Italian expats are living a far more bohemian, hand-to-mouth existence, seemingly embracing the chaos Mario is desperately trying to manage. Their arrival throws Mario's already precarious situation into overdrive, leading to a series of increasingly wild schemes, misunderstandings, and encounters with local figures ranging from friendly to deeply menacing. The chemistry between Abatantuono and Bisio is fantastic, a comedic pairing honed over multiple films, playing beautifully off Golino's more grounded (though still unpredictable) presence.
Retro Fun Facts: Beyond the Beach
It’s fascinating to think this film came hot on the heels of Mediterraneo. Where that film was wistful and dreamlike, Puerto Escondido is earthy, sweaty, and frequently descends into near-farce. It’s actually based on the novel of the same name by Pino Cacucci, and Salvatores co-wrote the screenplay with Cacucci, Abatantuono, and Enzo Monteleone. While perhaps less known internationally, Puerto Escondido was a massive hit in Italy, becoming one of the highest-grossing Italian films of its time. It completed what fans often call Salvatores' "escape trilogy," following Marrakech Express (1989) and Mediterraneo – three films about Italians finding (or losing) themselves far from home. You can almost feel the shift in energy, Salvatores perhaps wanting to shake off the gentle reputation of his Oscar winner with something faster and funnier. Filming on location in Mexico clearly adds an authentic layer of sun-bleached grit to the proceedings, making the culture clash feel palpable. Imagine trying to explain Italian banking regulations amidst that glorious chaos!
A Different Kind of Escape
Watching Puerto Escondido today is a trip. It captures that specific early 90s vibe – the fashion, the slightly anarchic energy, the dream of finding authenticity (or at least adventure) somewhere far-flung. It's not a perfect film; the plot meanders, some jokes might feel dated, and the tone occasionally veers sharply between light comedy and moments of genuine threat. But that’s part of its charm, isn't it? Like finding that unexpected foreign gem tucked away on the shelves of the video store – slightly unfamiliar, perhaps a bit rough around the edges, but offering a genuinely different flavour. It doesn't shy away from the potential downsides of Mario's impulsive decision, reminding us that running away from problems rarely makes them disappear entirely. Yet, there's an undeniable joy in watching these characters navigate their increasingly bizarre circumstances. You find yourself rooting for Mario, even as you're laughing at his predicaments.
The Verdict
Puerto Escondido is a delightful slice of early 90s Italian escapism, powered by great performances and Salvatores' energetic direction. It lacks the poetic grace of Mediterraneo, but compensates with frantic energy, genuine laughs, and a sun-drenched, chaotic charm all its own. It perfectly captures that fantasy of throwing caution to the wind, even if the reality proves far more complicated and hilarious than expected. For fans of world cinema discovered on VHS, or anyone who enjoys a fish-out-of-water comedy with a bit of an edge, this is a trip worth taking.
Rating: 7/10 – It’s a bit messy and uneven, much like the adventure it depicts, but Puerto Escondido delivers consistent laughs, memorable characters, and a wonderful sense of chaotic escapism. Its massive success in Italy wasn't accidental; there's a genuine charm and infectious energy here that overcomes its narrative bumps.
So, grab your metaphorical suitcase (leave the incriminating cash behind, perhaps?) and track down this vibrant slice of 90s Italian cinema. It might just be the chaotic vacation you didn't know you needed.