The One Not About Shoes...

“You can’t kill an idea…” Viva Zapata-1952

http://en.wikipedia.org/wiki/Viva_Zapata!

VIVA ZAPATA

The title of this film set the mood for the movie. In retrospect the meaning of the title seems to be a sort of “long live Zapata” with the significance being that his memory and mission cannot be killed. The film’s historical context is set up by the clothing and scenery. The first scene of Viva Zapata opens with the current president, President Porfirio Diaz, sitting in his plush office in a uniform weighted down with medals. His attire is in stark contrast to what the farmers are wearing when they enter the scene. The farmers are clad in clean, plain white clothes. The scenery dramatically changes as the film follows the farmers home, into the fields and up into the dry windy mountainous hillside.

Emiliano Zapata is a historical figure with whom the audience is supposed to relate to through his humility and reluctance to lead. Zapata begins the film an illiterate peasant who works in a stable. He is impatient in almost every aspect of his life. Zapata learns to read and to use his natural leadership skills to help advance his cause. Throughout (almost) the entire film Zapata upholds his one major value of giving the land back to the people as soon as possible.

http://everyeliakazanmovie.blogspot.com/2013/01/viva-zapata-1952.html

Eufemio Zapata, Emiliano’s brother, helps Emiliano by being his right hand man. Eufemio stays by his brother’s side until the end of the movie when he feels that he has been left behind and uncompensated for all of his work in the revolution. He ends up steeling the land that he helped give back to the people and getting shot by the people who he used to love.

http://www.theguardian.com/film/2009/sep/16/marlon-brando-reel-history

In this photo Eufemio is silencing the maid of Josefa, the woman Emiliano is determined to marry.

Fernando Aguirre is a fictional character who switches sides in the revolution to have himself continuously aligned with the current winners. He initially supports Madero, who was the president after Diaz. Aguirre then switches to supporting the leadership of Zapata when Madero’s reputation begins to slip. Aguirre then switches sides one last time to support General Victoriano Huerta in his fight against Zapata. The audience is to view him as the overall bad guy.

Emiliano and Eufemio Zapata are motivated by survival, both their own and their peoples’. Emiliano is also strongly motivated by justice. He believes that the land should be restored to the farmers so they are able to remain in their home. Over the course of the film Zapata loses sight of his original goal and get caught up in the bureaucracy of the matter. He realizes that he has lost his way when a new set of farmers comes in to speak with him and he realizes he is beginning to act like Diaz. He rectifies himself, but at the cost of losing his brother.

http://tr.wikipedia.org/wiki/Viva_Zapata_(film)

The film conveys a message of complete solidarity of the village people and Emiliano Zapata and his ideology. The film shows this by Zapata being surrounded by the town’s people while he is under arrest. They say that they are following him so he doesn't escape. The film also gives a message that an idea is stronger than the mortality of a single person. The people in the town believe that the memory of Zapata and everything he fought for is enough to keep their movement alive.

A major theme of the film is that this is a tough group of people who know how to survive. This reoccurring theme is shown through the film by Zapata and the village people always bouncing back after an attack or tragedy. Another theme of the film is justice, justice for the people who have lost their land and way of life.

Overall I believe this was a fairly good film, although slightly historically inaccurate. The film makes it seem as if Zapata is the only normal person or peasant fighting and leading others into battle. The truth is there were other groups all over working to over through Diaz, Zapata was simply the most successful. Also the entire character of Fernando Aguirre was made up to help the plot along and give the audience a constant figure to hate. Also, in real life Zapata wasn’t nearly as reluctant as the movie makes him out to be. Emiliano Zapata, although, is still a major historical figure who stands for justice at any price.   

http://it.wikipedia.org/wiki/Viva_Zapata!


References

Paul J. Vanderwood, “An American Cold Warrior: Viva Zapata!” in American History/American Film

Viva Zapata Powerpoint

Them Against the World

"On northern days an insect is born at 9a.m. and dies at 5p.m. How can it understand the word night? How can you understand the word love if you were never in love?" 

Camila- 1984, Eduardo O'Gorman

Photo courtesy of http://www.imdb.com/title/tt0087027/

CAMILA

                The major part of the film is set in 1847, featuring a high society Argentinian woman. The film opens with a horse drawn carriage, surrounded by armed guards, approaching a large estate. It is soon explained that the woman in the carriage is the grandmother of Camila O’Gorman, who at this time was a small girl. The grandmother has been sent to live with her estranged son and his family to complete her house arrest.

                The women in the film were constantly ordained in heavy European style clothing, and even when bathing, were clothed. Women were most often seen in church with lace head coverings and even finer clothing than their usual. Church was the main social entertainment for the women of this society and they usually attended some sort of mass or confession at least once a day. There was not much offered in the form of entertainment for women in this time period. They threw parties and teas for their friends and often gathered to sew together, but overall their options were limited because anything done outside of the house required male accompaniment.

 Camila’s home was a sprawling hacienda. The walls of the house were covered with ornate paintings and crown moldings. African servants took care of the family and the estate, tending to their every need. Even the African servants wore Rosas red in some form every day to show solidarity with Caudillo Juan Manuel de Rosas, the current political-military leader at the time.

13:30 shows how serious some individuals, specifically Camila's father, were about always wearing some sort of red. 

https://www.youtube.com/watch?v=XVEM9s0NO2o&oref=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DXVEM9s0NO2o&has_verified=1

            The film’s namesake and leading female character, Camila, was a passionate woman. She was portrayed as a stubborn and head stung. Camila represented everything a woman form this time period was not supposed to be. She embraced love and sexuality. She read books banned by the government and went against her father’s wishes, and even the law. She had the courage to run away from her comfortable lifestyle and build a new life for herself, with a man she loved, in a place she had never been.

Photo courtesy of http://www.proyectoallen.com.ar/3/?p=6095

           There is a scene in in the film which Camila sneaks up to her ailing grandmother’s apartments to hear stories her adventures and lost loves. In the beginning of the film Camila struggled with the idea of living the rest of her life in ease, but being tied to a man she doesn’t love. Camila was fascinated by love and knew that she could not spend the rest of her life pretending to love someone she didn’t. Then she met Ladislao.

          

           Ladislao was an anti-Rosas priest with big ideas and a platform to shout them from. He was guided by a strong moral compass, but thrown off course by the unexpected love he found with Camila. Ladislao represented selflessness and devotion, although he couldn't always decide if his devotion should be for Camila or God and the church.   

           The film presented the problems in this era with patriarchy. Camila’s father, Adolfo, was the figurehead for this issue. From the beginning of the movie to the very end he ruled his house with a domineering power. According to Adolfo, single women cause anarchy and all women were instruments of the devil. Women were to either be married off or sent away to a convent. He kept his own mother locked away in his home and viewed his children as business investments. Adolfo’s views on women, while partly shaped by the time period, may have been effected by his mother’s affairs with different heads of state. Much of what Adolfo did was carried out by other people. The kittens Adolfo had drowned were thrown in the ocean by a servant, and the execution of his daughter, and ultimately grandchild were carried out by a firing squad. While Adolfo had the most power in his home, he didn’t have the nerve to take responsibility of any of it himself.   

https://www.youtube.com/watch?v=UB0A6lc3jfs

             This type of dictatorship is similar to Rosas’ style of ruling. Adolfo ruled his house with fear, just as Rosas ruled the country. Intimidation and threats kept people in line while henchmen carried out the dirty work. Anyone who opposed their ruling or dared to speak up was taken care of one way or another.

             A major intent of this film is the power of love. Because of love Camila and Ladislao were able to run away and be happy. They were able to make sacrifices for each other because of love. They were also ultimately able to face death with less fear because of their love for each other. The film closes with the couple being placed in one large coffin in a way that is reminiscent of them simply sleeping in their bed as if to say they will be together forever and in love.

http://history.sffs.org/i/films/1985/

             Another intent could be identified as challenging an unjust authority. Whether it’s Camila and Ladislao running away from the law and Adolfo, or the firing squad refusing to shoot a woman the questioning of authority is a reoccurring theme. Camila’s mother even quietly under minds Adolfo’s authority by encouraging her daughters and witty comments.

             Overall I enjoyed this film, but from a historical standpoint Camila’s story was sensationalized to make it seem like it was them against the world. In reality Adolfo was more sympathetic and several people wrote letters in protest to Rosas imploring that they not be executed. Also the film made it seem that Camila was only a month or two pregnant when they were exucuted, but in reality she was eight months pregnant. This real life Romeo and Juliet have a love story that will live on.

Image curtesy of: http://www.cineplex.com/Movie/camila/Photos



References

• Donald F. Stevens, “Passion and Patriarchy in Nineteenth-Century Argentina: María Luisa Bemberg’sCamila” in Based on a True Story Latin American History at the Movies
• Camila Powerpoint 

Help on Wheels

The Motorcycle Diaries

                The historical context of this film is set up by the use of people and scenery. South America at this time is recovering from the effects of World War II. Many of the people that Fuser and Alberto encounter during their trip are displaced and looking for work (specifically the couple they met in the Atacama Desert). Those who did have a home were living under poor conditions (the family in Cuzco). The scenery they passed through was filled with car and trucks from the fifties and the buildings were dated.

                Ernesto “Fuser” Guevara, later to be widely known as Che, is a medical student with asthma. The audience of the film is meant to relate to Ernesto through his vulnerability, innocence, and naivety. As he travels through South America he learns, not only about other social classes, but about himself. The audience is supposed to feel his hurt for the plight of the people he helps. In the beginning of the film Ernesto is concerned only about his future and settling down. This changes by the end of the film Ernesto is a selfless individual only concerned with the future of the people of South America. I believe that most of Ernesto's characterization happens when he meets the couple in the Atacama Desert. He learns that the government was not fair to everyone, and that a large portion of the population is living hand to mouth. Most importantly this is where he first beings to contemplate communism.

http://www.focusfeatures.com/motorcycle_diaries/photos

This photo represents the life Fuser is planning for himself. Here he is dancing with girlfriend at the time. 

                Alberto, Ernesto’s best friend, is a less well known historical figure. The Audience is intended to relate to Alberto’s quirkiness and his frustration with Ernesto’s honesty and dedication. Alberto represents a free spirit. By the end of the film he realizes that he needs to settle down and start building a life for himself. Most of Alberto’s characterization happens in the San Pablo leper colony. This is where he begins to realize that there is more to life than chasing women and having adventures. He does this by getting a job in a hospital. 

http://www.focusfeatures.com/motorcycle_diaries

This photo shows the two young men at the beginning of their long journey.

                Both characters are motivated by helping people, although Ernesto more so than Alberto. Alberto is, quite honestly, motivated by women. Arguably, women are one of the main driving points to why they began this epic journey in the first place. In reality Ernesto was quite the ladies’ man, but the film portrays him as less interested to make him seem more selfless. Ernesto and Alberto are also motivated by the need and determination to finish what they started. At any point they could have given up and gone home. It would have been easier, and probably safer to quit.

All of Ernesto’s motivation stems from his need to help people by the end of the film. His motivation is shown through his physical determination to swim across the river. His determination is also shown through his need to make an emotional connection with the people in the leper colony. Ernesto goes against all the rules and makes skin to skin contact with the lepers, and then builds trust with them through unconditional friendship and caring. He is so motivated to help people that he puts his own life at risk at several points in the film.

http://joy-of-books.blogspot.com/2006/02/motorcycle-diaries-book-and-film.html

This picture shows Ernesto cleaning the wounds of one of the colony member's feet. This is one of the ways that he connected with the people living there. Ernesto was unafraid to touch them without gloves. This was a first for many of the people since being put in the colony by family, friends, or employers. 

The intent of this film was to show the development and character growth of Ernesto Guevara. This journey is what molded him into the leader and famous historical figure he became. The message that Ernesto delivers to the audience is that everyone deserves help. Ernesto helped everyone no matter their social class or what they could give him in return. He was fascinated by other people and the relationships they had with each other. 

I believe that this was a great film. With the help of the real Alberto Granado, this film was a huge success. Although the movie uses dramatic licence to make get away's more close and trickery to make their adventures more exciting, much of the film accurately portrays the youth of the young new revolutionary.    

References

 “Just a Pretty Face?” The Guardian, July 10, 2004 

Eduardo Elena, “Point of Departure: Travel and Nationalism in Ernesto Guevara’s Argentina” in Che’s Travels: The Making of a Revolutionary in 1950s Latin America

Paulo Drinot, “Introduction” in Che’s Travels: The Making of a Revolutionary in 1950s Latin America, pp. 1-12, up to the end of the section on the Eduardo Elena article. This is a portion of the introduction

The Tale of Two Lucias

Era of Independence Lucia:

                This film sets the historical context of this era primarily by the clothing and scenery. The women are mainly dressed in European style clothing and are covered from head to toe at all times of the day. The only woman who isn’t dressed in this same style is Fernandina, who is dressed in rags. The scenery is filled with large homes and is mostly populated by wealthy, white, women because the men are off fighting battles. The women spend their time in church and sewing hammocks and other similar items for the men at war.

 

Still from Lucia, 1969

Image courtesy of New Yorker Film

This picture shows the difference between the two lifestyles and clothing of the women. 

https://www.youtube.com/playlist?list=PL980AAF94B1E3E441

This still of the movie shows the style of the large house that Lucia lives in.

This portion of the film, which is highly melodramatic, creates a stark difference between what occurs inside and outside of the wealthy households. When the women are gossiping about what caused Fernandina to go insane the camera angles and music changes drastically to emphasize the differences between the two worlds. The wealthy women are sheltered and safe in the space that was made for them, and they never wish for anything more.

https://www.youtube.com/watch?v=cbV_b-WzqSI

At 5:10 in this clip shows the different filming styles used to portray the very different worlds the two classes of women come from.   

                This Lucia values love and familial relationships. Over the course of the film her focus is shifted to only Rafael. She modifies her opinions about the war and is no longer as open about them as she once was. She eventually unknowingly gives away the position of Felipe and the other independence supporters, who were hiding at the cafetal, which leads to Felipe’s death. Lucia is so shaken over her betrayal of her brother that she stabs Rafael out of grief and anger, essentially aligning herself with the Cuban aristocracy’s side of the war. 

This part of the film seems to set a tone for the other two parts in regards to gender roles and the treatment of women. For Fernandina the world is a scary place. She is maltreated by everyone. The intent of this is to show the conditions for women, especially those without money or status.  Another intent of this portion of the film is to show Cuban nationalism and represent the history of their independence.

Communist Construction Era Lucia:

                This portion of the film uses clothing, settings and scenery to depict historical context. This Lucia is a hard-working, pants-wearing, sexual woman. She goes to work every day with truckloads of other women in the fields that surround her home. She knows how to do many different jobs and is extremely independent. The small shacks that everyone lives in are the exact opposite of the massive homes that were featured in the era of independence. The parties held in the town are filled with liqueur and cigars and the families are getting ready to open their homes to literacy teachers. The Regional Committee for the Defense of the Revolution meetings are led by people of African descent, which would have been unheard of in the independence era. 

http://peliculascubanas.org/lucia-1968/

This picture features one of the Regional Committee for the Defense of the Revolution meetings held in the town. You can see that the meeting is being led by Flavio, a man of African descent. 

                Lucia represents hard work and determination, while Tomas represents old ways and traditions.  While both are highly motivated to work, Tomas is extremely traditional (and abusive) and insists that Lucia remain in the house with the windows and doors shut. This drives Lucia crazy and eventually. her need to work wins out over her love for Tomas. In this slapstick comedy portion of the film Lucia and Tomas have an epic argument and chase scene and it is unclear what the final outcome of the major disagreement is.

https://www.youtube.com/watch?v=eeR8sWv06QU

Beginning at 6:00 minutes this clip depicts how jealous and old fashioned Tomas is. He is enraged over the site of his new wife dancing with another man, and starts a fight. 

                The intent of this portion of the film is to show how far gender biases have come and the evolution of social classes. Tomas represents the old ways of Cuban history. Flavio states near the end of the film that women are no longer treaded the way he treats Lucia and that he should allow her to work and earn her share. This portion of the film also highlights the importance of all the jobs done by rule workers, and how important they are to Cuba as a whole. All the people working hard in this part of the film seem much happier with themselves and their lives than those in the independence era. The creators even ended the film with a laughing child to represent the hope for new generations.  

                I believe that Lucia was a good film, although intent and message of the film were biased.

References

 Lucia Powerpoint

Barbara Weinstein, “Lucía: Inventing Women’s History on Film” in Based on a True Story Latin American History at the Movies