Cronos opens with an English-narrated prologue about a sixteenth century alchemist making a device to prolong his life. The uncredited narrator is wanting, the music isn’t good—it doesn’t seem like the rest of Javier Álvarez’s score, but who knows (well, the distributor would); it’s a change for the U.S. theaters and a bad one.
So it’s great when the film’s able to overcome that awkward opening—given the difference in tone, it’s hard to say if the original Spanish version would make much difference… some of the problem is the prologue content itself. But once writer and director del Toro gets Cronos settled in the present action, with a patient, deliberate introduction to lovable grandparents Federico Luppi and Margarita Isabel and their almost always silent granddaughter, Tamara Shanath, the iffy opening is an immediately distant memory. Cronos has MacGuffins in its MacGuffins, especially considering where the film ends up; the prologue is one of them. Or two of them.
The first act is mostly Luppi and Shanath hanging out at his antique shop—he’s an antiques dealer, grandma Isabel teaches dance, Shanath’s parents seem to both be deceased, she’s their paternal grandchild. There’s a cute little story Luppi eventually tells Shanath about her dad, who once tried to get Luppi to stop smoking by hiding Luppi’s cigarettes. Shanath’s doing the same thing, sort of; she’s hiding Luppi’s Cronos device.
Getting ahead of myself here.
So Luppi and Shanath are in the shop and they discover a statue with a hollow base. They discover it because some tweaker-type shuffles into the antique shop, looking at some of Luppi’s still wrapped pieces. Luppi gets curious, unwraps the statue, finds the hollow base, opens it, takes out a golden scarab looking thing. Pretty soon it latches on to Luppi’s arm and pokes him with its six legs. Inside the device—the biggest effects sequences in the film are the interiors, close ups of miniature gears—is an unidentified insect. It acts as a filter, presumably putting its own antibodies into the user’s blood, then distributing it back into the body.
The actual process of the device never gets too much attention, partially because there probably aren’t any bugs out there able to turn people into vampires—getting ahead again, sorry—but also because del Toro avoids painting himself and the film into any corners. It’s going to have shades of comedic absurdity in the second act, whereas the first just has echoes of magical realism (via the mechanical). Del Toro needs to keep things relatively loose.
Luppi becomes immediately addicted to the device, something he hides from wife Isabel but granddaughter Shanath finds out right away. Shanath’s not in favor of the Cronos device, but eventually relents enough to allow Luppi to keep it (as opposed to her hiding the device from him). Unfortunately, bad guys Claudio Brook and Ron Perlman also want the device and they’re willing to get violent about it.
Brook’s an old rich guy living in a sterile room in an industrial district with only American nephew Perlman to care for him. Perlman’s an errand boy, waiting for Brook to die for some inheritance. Brook doesn’t even tell Perlman why they’re looking for the device; besides the opening narration, all the exposition about the device comes from Brook, who never tells Luppi quite enough to make informed decisions.
Because pretty soon, Luppi starts noticing he’s lusting for human blood. He’s also lusting for Isabel, reinvigorated, clean-shaven, horny. Shanath really doesn’t like the amorous grandad, though Isabel doesn’t seem to notice the severity of the change.
At this point in the film, however, Cronos completely shifts gears as it prepares for the third act, which is all about Shanath having a grandfather who’s a vampire. There’s a lot of cute stuff with Shanath having a grandfather who’s a vampire, even though Luppi’s face is literally molding off. Isabel, who’s always a distant fifth in the film, disappears for the most of the last thirty minutes. It’s all about Luppi and Shanath trying to get things sorted out with Brook and Perlman, which seems like it’s the most important thing in the third act, but really isn’t. Despite being murderous, Brook and Perlman aren’t particularly threatening.
Probably because del Toro plays them for laughs a lot. Perlman’s doing a mostly comedic part. Brook’s doing a Mr. Big thing, only his performance is weak and his moments are where Cronos feels a tad cheap.
The film’s got a low budget and del Toro’s inventive with compensating for it, often successfully, but the cartoon villains are a mistake. Though as Cronos winds down, it seems like everything’s gotten to be a mistake, even Álvarez’s usually excellent score. Del Toro tries for something with the finale and misses, ending the already run down, deus ex machina’d Cronos on a shrug. Some of it’s the composition, with del Toro going in too tight on some of the shots—again, might just be budgetary, he and cinematographer Guillermo Navarro have some need cost-saving tricks throughout—but even so qualified, it’s a miss. The wandering narrative distance doesn’t do the film any favors.
There’s some great color palette stuff throughout from Navarro—the blue nights, the colors on the costumes, especially Shanath’s, then Shanath’s green glow stick, which becomes a familiar visual trope—but also some bland photography.
Cronos isn’t a failure by any means, but it’s also not the success it ought to be. Perlman’s bold comic villain turn, for example, is never as successful as it should be. Luppi’s turning into a vampire takes away all the subtext in his performance, replacing it with the inevitable inevitable blood lust. Isabel’s good but barely in it. Shanath’s in a similar situation. She’s always around but rarely the focus, even though it’s her story.
Del Toro does a great job stretching the budget, which is where Cronos is the most impressive. But that success really shouldn’t be the film’s most impressive feat.
Written and directed by Guillermo del Toro; director of photography, Guillermo Navarro; edited by Raúl Dávalos; music by Javier Álvarez; production designer, Tolita Figuero; costumer designer, Genoveva Petitpierre; produced by Arthur Gorson and Bertha Navarro; released by Ventana Films.
Starring Federico Luppi (Jesús), Tamara Shanath (Aurora), Ron Perlman (Angel), Margarita Isabel (Mercedes), and Claudio Brook (De la Guardia).