Deep within the South American jungle
In the midst of two centuries past
A young medical student dares to sing his way
Into the heart of the girl he's trying to save...
But who's heart will break first?
–"María"
Can love really conquer all?
Widely read in high school literature classes throughout Spanish-speaking countries of the world, the Colombian novel, “María,” is often referred to as the “Romeo and Juliet” of Latin American literature. Set in the mountains and jungles of the Cauca River Valley of 1860s Colombia, “María” tells the tragic story of two young star-crossed lovers — Efraín and María — who struggle to confront, understand, and sustain their great love for one another against all odds. Emboldened by the stories of María’s nanny, the freed African slave, Nay, “María” takes its audience on an adventure of the heart, spirit, and imagination — through the mountains and jungles of Colombia, the islands of the Caribbean, the Ivory Coast of Africa, and the early research laboratories of London — all as Efraín frantically searches to find a rare, mysterious plant to cure the disease that threatens María’s life.
The Songs and Music of “María”
A rock opera inspired by traditional Latin American Andean and Caribbean rhythms, instrumentation, and styling, “María” consists of 14 original base compositions (with reprises) sung principally in English by Efraín and María and a balance of secondary characters who take part in the story. The main song, “Heart of Hearts,” is a Latin-flavored ballad/duet (e.g., Fotografia-Juanes/Nelly Furtado). Nay’s story of her enslavement, “One Destiny,” is bold and inspirational, while “Muda la tarde” takes an original poem by Jorge Isaacs and sets it to modern Salsa. All of the songs hold the heart and soul of the narrative. Interwoven within a 106-page screenplay with dialog, action, and exotic imagery, the songs tell the story in ways it has never been told before.Act 1
“Take a Step” (Efraín at 12, María at 9; Efraín at 18; María at 15)
“Oh Bogota!” (Efraín, his friend, Carlos, Efraín’s Family)
“Things Have Changed” (Efraín, Papá, Mountain Villagers)
“Island of Jamaica / Isla de Jamaica” (María)
“Heart of Hearts” (Efraín and María)
Act 2
“The Jaguar Dream” (Efraín and Carlos, Narrator’s Voice)
“A Few Flowers” (María, Mamá, her nanny, Nay)
“One Destiny” (Nay)
“Muda la tarde” (Carlos and his Salsa Band)
“Will She Marry Him?” (Efraín, Carlos, María, Emma, Mamá, Papá)
Act 3
“You Outdo the Sunshine” (Efraín and María)
“Promise Me” (Efraín and María)
“Off to the Laboratory” (Efraín)
“So, What is Love?” (Efraín, María, Cast)
The Musical/Film: On the Edge of Dark Romanticism
The writer/composer sees the film in the “hyper-real” style of “Moulin Rouge,” “Edward Scissorhands,” "300," or "Sin City.” Tim Burton's "Sweeney Todd" and "Nightmare Before Christmas" also come to mind, as Isaacs' prose, style, and ominous tone are often compared to that of Edgar Allan Poe. Most recently, the writer cannot seem to get the dark feel of the film "Pan's Labyrinth" out of his head, or Guillermo del Toro's darker magical imagination.As benign and hopeful as the story's imagery and music suggest, there is an underlying filmic darkness that envelops the characters and their struggle to overcome nature, fate, and circumstance. Still, there is light and hope creeping around the edges of every shadow. In the darkest of gloom and despair — he's going to lose her! – there is a singular light that shines down on Efraín and María.
There's beauty, pain, and innocence in their love, but all is lost if he cannot get to her in time...
"Jane Eyre" meets "Wuthering Heights" in the powerfully lugubrious Colombian jungles of 1867...
Can Efraín really save María?
Target Audiences
The “PG” rated film targets families with older children, teens, and young adults, especially those of Hispanic or Spanish-speaking ethnicity (can be produced in English and Spanish with a bilingual cast); Broadway/World stage release of musical follows film release.
Prospective Collaborators:
The filmmaker is currently in or seeking conversations with the following creative artists/filmmakers/producers:
- Tim Burton, Director, Producer, Writer
- Robert Rodriguez, Director, Producer, Writer
- Guillermo del Toro, Director, Producer Writer
- Elizabeth Avellán, Producer
- Stuart Howard, Casting
- Correo Aereo – Abel Rocha, Madeleine Sosin, Seattle, WA (USA): (www.correoaereo.com)
- Andrew Shapter, Filmmaker, Austin, TX: (www.andrewshapter.com)
- Gary Powell, Composer/Music Producer, Austin, TX (http://www.garypowell.com)
- Vance Holmes, Director of Photography, Austin, TX
- Lee Fontanella, Professor Emeritus/Story and Culture Consultant
- Lucía Caycedo Garner, Emerita/Culture and Language Consultant
- Mark Bauman, VP Media Programs/EVP Music and Radio, National Geographic
- Julio Reyes Copello: Producer/Composer (www.julioreyescopello.com)
- Juanes, International Pop Star/Cantoautor (www.juanes.net)
- Shakira, International Pop Star/Cantoautora (www.shakira.net)
- Bob Sabiston, Austin, TX: Filmmaker/Animation Technologist (www.flatblackfilms.com)
- Matt White, Washington, DC, Film/Media Producer
- Deena Kalai, Legal (http://deenakalai.com/)
The Proposal
Though originally envisioned and written as a film, the project has always had a parallel life as a staged musical. Currently in pre-production, the writer is creating a collaborative team of prospective individuals with whom to plan the early development stages and financing of the project and musical score. As the 105-page script and musical compositions have been completed, next steps include arranging the musical compositions, budgeting, and securing a development deal to begin formal pre-production and production of the musical or film and related properties, as well as finding theatrical and non-theatrical distribution channels for Maria.
Inquiries
For more information on creative and collaborative opportunities, distribution and investment opportunities, and how you can support María, please contact Jim Bruno at jimbruno@gmail.com.
