Med­i­cine Man

This ar­ti­cle first ap­peared in the author's blog, Cu­riosi­dades de la Mi­cro­bi­ología and is trans­lated with his kind per­mis­sion.

by Manuel Sánchez An­gulo

The mid-80's of the last cen­tury saw the birth of an en­vi­ron­men­tal move­ment di­rected at the con­ser­va­tion of the Ama­zon jun­gle. It reached its cli­max in 1989 when the singer Sting pub­lished a book on the de­struc­tion of the habi­tat and cul­ture of the in­dige­nous com­mu­ni­ties. Al­ready in 1985, British cin­ema de­voted a movie to this con­cern. It was called The Emer­ald For­est, by John Boor­man, and had con­sid­er­able suc­cess at the box of­fice. Hol­ly­wood de­cided that 1992 might be a good year to re­turn to this is­sue. A new movie, Med­i­cine Man, was di­rected by John Mc­Tier­nan, who at that time rode the crest of a wave, hav­ing di­rected such movies as Preda­tor, The Thomas Crown Af­fair, and The Hunt for Red Oc­to­ber. Sean Con­nery had the lead­ing role. The fe­male role played by Lor­raine Bracco, well-known for her in­ter­pre­ta­tion of Karen in Good­fel­las. The sound­track was com­posed by Jerry Gold­smith. Every­thing sug­gested that the pro­duc­tion was go­ing to be a suc­cess, but in the end it only cov­ered the costs.

Still of Sean Con­nery and Lor­raine Bracco in Med­i­cine Man (1992). Source

The plot is based in part on the work of eth­nob­otanist Richard Evans Schultes (1915–2001), one of the pi­o­neers in the search for bioac­tive sub­stances based on the tra­di­tional uses of plants by Ama­zon­ian tribes. Sean Con­nery plays a bio­chemist who works for a large phar­ma­ceu­ti­cal com­pany and is look­ing for a sub­stance with great po­ten­tial an­ti­tu­mor ac­tiv­ity (the "cure for can­cer," no less). His work ap­pears to have come to a stand­still, so the com­pany sends a bio­chemist (Bracco) to as­sess the re­search and de­cide if it is worth con­tin­u­ing to fi­nance it.

The mys­te­ri­ous sub­stance with an­ti­tu­mor ac­tiv­ity was found in a po­tion made by the tribe's shaman. Con­nery and Bracco are try­ing to iden­tify and pu­rify it from the plants col­lected by the shaman. They put plant ex­tracts through a gas chro­mato­graph (one of the great mys­ter­ies of the film is how can they run a com­plete bio­chem­i­cal lab­o­ra­tory with­out elec­tric­ity). With­out dis­clos­ing the end, I par­tic­u­larly liked the se­quence that ex­plains rather graph­i­cally the im­por­tance of do­ing a few checks to cal­i­brate the equip­ment.

This film makes two ref­er­ences to mi­cro­bi­ol­ogy. One is the tra­di­tional process of pro­duc­ing an al­co­holic bev­er­age by chew­ing fruits or veg­eta­bles prior to fer­men­ta­tion (which re­sults in the break­down of starch by the sali­vary amy­lase). But the most in­ter­est­ing as­pect is the epi­demi­ol­ogy of in­fec­tious dis­eases and their dev­as­tat­ing ef­fect on the pop­u­la­tions that have not been im­mu­nized. When Bracco ar­rives to the tribe, Con­nery be­rates her sharply be­cause she's not wear­ing a sur­gi­cal mask. She an­swers that it's not nec­es­sary, to which Sean Con­nery replies that it is not for her sake, it's for the In­di­ans'. A sim­ple cold virus could kill an en­tire tribe! Later on we find out that part of Connery's dark na­ture is rooted in an out­break of flu that dec­i­mated a tribe that he had vis­ited in his youth.

This is an en­ter­tain­ing, couch potato-kind of movie.

 

Manuel Sánchez Angulo

Manuel is a stu­dent of the mi­cro­bi­o­log­i­cal as­pects of pop­u­lar movies. He has un­earthed a sur­pris­ingly large num­ber of in­teresting con­nec­tions and has com­mented on them in his blog, Cu­riosi­dades de la Mi­cro­bi­ología, as well as in a sec­tion of the Bul­letin of the So­ciedad Es­pañola de Mi­cro­bi­ología called "El Biofilm," and else­where. He has also writ­ten about the use of movies as ed­u­ca­tional ma­te­r­ial, em­pha­siz­ing Bugs and Movies, which is about the use of film clips to teach Mi­cro­bi­ol­ogy. We have of­ten reprinted his ar­ti­cles in trans­la­tion.

 

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