Peru21 has an interesting post up on Tune in Tommorow. No copyright infringement is intended with the partial translation of this article. I did not include the film synopsis, only the material that was not widely publicized.
The article was written in honor of Mario Vargas Llosa’s birthday. The author wanted to pay homage to Tune in Tomorrow, the film version of Aunt Julia and the Scriptwriter, whose release went unnoticed in Peru at the time of its release.
After Mario Vargas Llosa had already lost the presidential election in Peru, Tune in Tomorrow, an adaptation of one of his (Llosa’s) most popular novels Aunt Julia and the Scriptwriter, premiered in September of 1990. While the film, directed by Jon Amiel English and written by William Boyd, took some liberties with Llosa’s book, it maintained the cheerful spirit intended by the author and maintained the counterpoint between reality and fiction. It also had an interesting cast made up of the beautiful Barbara Hershey (Hannah and Her Sisters, The Last Temptation of Christ, The Black Swan), Keanu Reeves, who was far from famous as he had not made Bram Stoker or The Matrix yet, and the great Peter Falk (TV hit Colombo), who almost became the star of the movie.
The story, Aunt Julia and the Scriptwriter, had appear on the small screen as a telenovela. This was produced by RTI Colombia and premiered in Peru on May 24, 1982 (via Pantel). This version was adopted by Vargas Llosa himself and had a cast of Victor Mallarino, Carlos Muñoz and Gloria Maria Ureta. This version did not get much notice.
Tune in Tomorrow is the film adaptation that I liked from a novel by Vargas Llosa. Not only because it is a very funny and clever story, but because you can clearly see some of our favorite techniques Nobel (?), that allow you to see fluid changes between different levels of reality (Note: The film is a story within a story and I think he is referring to the the technique they used to track the two stories) . From the opening scenes, where they are presented in the film credits with no letters on the screen and through the voice of the radio announcer in the story, we are able to track where fact and fiction artfully communicate.
The original article is here.