That film, released in 2013, was the director’s best work. “Gloria Bell”, a new English-language version, is not
IT IS rare for a director to remake their own film. Some auteurs, once they have accrued wisdom and status, return to early or lesser works to improve upon them. Alfred Hitchcock went back to “The Man Who Knew Too Much” in 1956, and turned his unpolished mystery into a big Hollywood thriller, replete with movie stars and exotic locations. Michael Mann turned his little-seen television movie “L.A. Takedown” into “Heat”, his masterpiece.
Then she meets Arnold , a sad, newly divorced man, at a bar. He comes on strong, soon offering schoolboy declarations of love. Gloria tries to overlook the warning signs—particularly his intense relationship with his ex-wife and two grown-up daughters—but she is flattered by the attention and desperate for a meaningful connection. The allure of a charming, interested man proves too powerful to ignore.
Some of the original details do not translate well to their new surroundings. The singles’ events, hosted in disco ballrooms with neon lights and power ballads, seem antiquated. Gloria’s unfamiliarity with Arnold’s business does not ring true. Perhaps it was more plausible that a middle-aged woman in Chile several years ago had never heard of this recreational activity, but it is less likely in a modern American city.
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