Viggo + Spanish = $woon

AAAAAAAAAAAAAAAAAAAAAAAAH!

Viggo Mortensen + Looking fierce + Carrying a sword + Speaking Spanish = Muchos doblone$$$.

I am going to go broke just in the amount of time spent at the movie theater, the need for extra panties and feminine hygiene products and maybe a ... ahem ... certain-kind of toy or two. With this movie, Viggo is gonna make a lot of people rich. Just in panties and .. ahem .. certain-kinds of toys, I can see a whole terciary market of Viggo-related goods.

Heh.

But seriously ... The older I get, the sexier I find gringos who speak Spanish. Viggo doesn't speak it fluently --he's basically a native speaker. You have to be completely bilingual to be able to pull off not just a movie but a whole different accent --he trained to pin down a leonés accent and forgo his native Argentinian twang.

HOTTTTTTTTTT!

The thought of sitting through 2 or 3 hours of Viggo Mortensen speaking in Spanish while carrying a sword is just ... just ...

¡AY PAPI!

I am sOoOoOo looking forward to this movie. Not only is it based on a kick ass series by Arturo Perez Reverte, one of my favorite Spanish writers but it has

VIGGO!

SPEAKING SPANISH!

WITH A SWORD!

As Trent would say, Le sigh!

Which is why, I beg, nay, I implore to the US distributors of the movie : DO NOT RELEASE THE MOVIE IN ENGLISH ONLY!

This movie will sell itself. People will pay to see Viggo in a Spanish-speaking role. Everything Spanish and Latino is cool these days (see the sleeper hit High School Musical or Shakira, for example) and having the king of Middle Earth revisit the gig, in what is still an exotic language, is just gold.

If you really need to dub, then do this : Release the Spanish and English only versions into limited theaters while making the subtitled version more widely available. I bet you the limited-release Spanish-only one will sell more. Just a gut feeling.

¡QUE VIVA VIGGO EN ESPAÑOL!

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Words to live by

By the time a century or two of exploitation has passed there comes about a veritable emaciation of the stock of national culture. It becomes set of automatic habits, some traditions of dress and a few broken-down institutions. Little movement can be discerned in such remnants of culture; there is no real creativity and no overflowing life. The poverty of the people, national oppression and the inhibition of culture are one and the same thing. After a century of colonial domination we find a culture which is rigid in the extreme, or rather what we find are the dregs of culture, its mineral strata. The withering away of the reality of the nation and the death-pangs of the national culture are linked to each other in mutual dependences This is why it is of capital importance to follow the evolution of these relations during the struggle for national freedom. The negation of the native's culture, the contempt for any manifestation of culture whether active or emotional and the placing outside the pale of all specialised branches of organisation contribute to breed aggressive patterns of conduct in the native. But these patterns of conduct are of the reflexive type; they are poorly differentiated, anarchic and ineffective. Colonial exploitation, poverty and endemic famine drive the native more and more to open, organised revolt. The necessity for an open and decisive breach is formed progressively and imperceptibly, and comes to be felt by the great majority of the people. Those tensions which hitherto were non-existent come into being. International events, the collapse of whole sections of colonial empires and the contradictions inherent in the colonial system strengthen and uphold the native's combativity while promoting and giving support to national consciousness.

— Franz Fanon, Reciprocal Bases of National Culture and the Fight for Freedom