Machuca

Machuca addresses the historical era of Pinochet's rule, who took power of Chile on September 11, 1973. Before Pinochet took control of Chile Salvador Allende was in control. Allende has a longstanding tradition of democratic elections. He gave the people hope and opportunity for social change. This all ended the day Pinochet took office. During the time Allende was in office, Chile was a prosperous country; Latin America model by mid-1960s: 30-35% of the upper and middle classes and even more were in the cities. 84% of the nation were literate. Yet poor rural distribution of land. Salvador Allende was elected to office in 1970. He was a Marxist, medical doctor, and politically quite radical. Within a year, state took over various privately-owned industrial plants. The state realized lower profits to raise workers' wages by as much as 50%, while also carefully controlling inflation. They also help prices down. State expropriated the country's major copper mines (and major source of wealth)-owned by U.S. companies. Allende while in office had plans for land redistribution etc. By 1971, the U.S. had committed $8 million in CIA funds to the support of Allende's opponents. The U.S. supported the paralyzing strike of truckers, the infiltration of a newspaper-El Mercurio-that began then to continually publish denunciations of the Allende government. The U.S. cut off loans to Chile and pushed other western countries to do so as well.

The evidence of the political climate is obvious. At the beginning of the movie Allende visits Soviet Union, there are shots of leftist and rightist newspapers, "NO CIVIL WAR" signs and Gonzalo's family is stockpiling supplies and food. Pre-coup effects are politicas split Gonzalo's family and ultimately split Gonzalo and Machuca. Machuca benefits from the Allende presidency. This angers some parents at school. But Allende's presidency creates hardship for Gonzalo's family.

There is quite a difference in the appearance of our two main characters Gonzalo Infante and Pedro Machuca. Gonzalo has nice clothing, is nicely dressed, attends elite boys' school, is fair-skinned, reads Lone Ranger comics (which come from his whore of a mother's boyfriend), and who is also initially unaware of the poverty in Chile. Machuca on the other hand only has one set of clothing, lives in a makeshift home in the poorest neighborhood, is darker-skinned, and is forced to work after school to help provide for his family. Although their appearances are different, they both have very similar views and character traits. Both boys are somewhat innocent at first, in contrast to Silvana especially who is a neighbor of Machuca's. They are willing to cross social classes for a friendship and above all they are non-judgemental, which is more than their respective family members. Especially Gonzalo's mother, Gonzalo's sister's boyfriend, and Silvana.

One of the key moments in the film are when new students are introduced in the to Gonzalo's class. Father McEnroe encourages the boys to make them feel welcome, but it is apparent that this isn't going to happen. One of the boys says that the new students is the son of the maid. Even as classmates Gonzalo is picked on. We see this in the courtyard when his sandwich is stolen by the young asshole of the movie. The bully intentially pits Gonzalo against Machuca and Gonzalo won't hit him, which only makes their friendship that much stronger. As a result the bully and his friends begin calling Machuca and Gonzalo faggots. Gosh kids are mean! I would've chased after them and hit them. As I said before, Gonzalo's mother is a cheating whore. This is another moment where the two boys bond again. Gonzalo's mother forgets to pick him up from school and Machuca offers to give him a ride home. Here is the point were the political rallies and protests solidify the boys' friendship. At one of the rallies we see Gonzalo's mother, she is speaking to her daughter's boyfriend who got cigarettes from Silvana and didn't pay. Silvana being the little firecracker that she is spit on the car. Here goes the fight...DING DING DING! This is a turning point in the movie. Gonzalo sees this and runs away. He witnesses his mother verbally and physically attack his friend.

At the end of the movie when the troops are in Machuca's neighborhood and one of the troops tries to keep Gonzalo there he points out that he isn't from there. He tells him to look at his clothes! He is wearing clothes that reflect his wealth. In Machuca's eyes this is the ULTIMATE BETRAYAL! Machuca's family is thrown out of their home, Silvana is shot for attacking a member of the military while trying to defend and protect her father.

City of God

City of God, directed by Fernando Meirelles and Kátia Lund and starring Alexandre Rodrigeues as Rocket, Phellipe Haagensen as Benny, Douglas Silva as Li'l Dice, and Matheus Nachtergaele as Carrot was released in 2002. You would think that Rio de Janeiro would be a vacation destination, and maybe you're right, as long as you don't get lost in the City of God. Known as one of the worst favelas, an informal neighborhood, in Rio during the 1960s, 1970s and 1980s. This historical era is presented through the eyes of our main character Rocket. He has a bias opinion of the world he lives in, for he doesn't want to be apart of it but doesn't have a way out at first.

As the movie starts we see a mad dash for a runaway chicken! Boys of all ages are chasing this chicken, carrying guns. In what world do we allow boys this young to carry guns. Ladies and gentlemen welcome to the drug and gun trafficking world. Stuck in the street with all guns pointed at him it the main character Rocket, who loves to take pictures. "A picture could change my life." Let us rewind and introduce Clipper, Goose, and Shaggy. These are "The Tender Trio" who are legendary in the City of God. They three of them run this town. Although this is before the drug scene gets very popular. "The Tender Trio" mainly are responsible for robberies. As we see they go after the gasoline truck, they rob the hotel (the idea of Li'l Zé) and other petty crimes. Rocket comments; "Having a hood for a brother sucked." He didn't want to be a hood or a policeman because he was scared of being shot. He wanted to have a career as a photographer.

Rocket as a young boy

Rocket grown up

As the boys grow up we see a change in power. Li'l Zé kills Rocket's older brother Goose, who is running from the police after sleeping with a man's wife while selling fish. Goose thought that after the motel robbery Li'l Zé "was a goner", although this wasn't the case. We later find out that the murders at the motel were the direct result of Li'l Zé finally getting his opportunity to use his gun and quench his thirst to kill. Now Li'l Zé is Li'l Dice and is the head of the drug business in the City of God along with his partner Benny who has been his friend since childhood. Watching these two throughout the movie I was only annoyed. Not only do they not have a soul to speak of they are simply ignorant to anything but the love of money, power, and drugs. They will do anything and everything to remain on top. Maybe it is because I personally have never had to experience any type of hardship like this in my life, but killing people out of spite is something I will never understand.

Li'l Dice

Benny

Carrot

Our key messages are that you have to work for everything you have. Even the dealers work for what they have. As young boys they worked for what they had. They started out as runners and were paid accordingly, and continued to move up. They didn't care if it meant stealing or killing. They wanted to be in charge. That was the end goal. Rocket did they same. He bought a cheap camera and at first only took pictures of his friend in hopes that one day he would have a big break. After his pictures made in on the front page of the newspaper and Li'l Dice said that everyone was starting to see that he was very important and wasn't anyone to mess with Rocket started to take more pictures. This was his out, his big break. The film I believe was a success. It followed the readings pretty close to what actually happened. Good news is that now Rio is in much better shape than it was during this time period.

In chapter seven of Janice Perlman's book it states, "They [the militias] control everything; they impose curfews; they make you pay for coming and going in your own community...If you don't do what they say, they shoot you-not to wound but to kill. That's their way." This was not shown in the movie at all. "Once again, the favela residents have traded one fear for another. Where fear of removal was replaced by fear of the drug traffic, now fear of the drug traffic has been replaced by fear of the militias." In fact the "militias" were owned by the drug dealers. They helped cover up what was actually going on. The only fear in the City of God was the drug dealers! It is not surprising that the police in Rio are violent and corrupt. They are underpaid and afraid. Many of them grew up in and still live in favelas themselves.  For many, joining the police force was an attempt to gain respect. When police are not respected, they intimidate.

Janice also gives us a list of essential ingredients for the feijoada: 1. Stigmatized territories within the city that are excluded from state protection; 2. inequality levels among the highest in the world; 3. a high-priced illegal commodity with the alchemist's allure of turning poverty into wealth; 4. well-organized, well-connected drug gangs and networks; 5. easy access to sophisticated weaponry; 6. un underpaid, understaffed, unaccountable police force; 7. a weak government indifferent to "the rule of the law"; 8. independent militias and vigilante groups who can kill at will; 9. a powerless population of over 3 million people in poverty; and 10. a sensationalist mass media empire fomenting fear to sell advertising and justify police brutality.

The Motorcycle Diaries

The Motorcycle Diaries directed by Walter Salles starring Gael García Bernal as Ernesto Guevara de la Serna and Rodrigo De la Serna as Alberto Granado was released in 2004. Walter Salles's film addresses the historical journey of Che Guevara's travels from 1951-1952. This event is present in an amazing journey on a motorcycle! If you were a medical student and very close to graduating, would you just put that on hold to travel the country of South America? This is exactly what Ernesto "Che" Guevara, initially motivated by curiosity and a desire to travel, and his close friend Alberto Granado did. They set out on the adventure of a lifetime. Starting out in Buenos Aires, Argentina and visiting among other places, the Atacama Desert, Cuzco (the former Inca capital), Machu Picchu, Lima, and a leper colony at San Pablo, Peru. After saying goodbye to Ernesto's family, the two embark on "The Mighty One", Alberto's old Morton 500 motorcycle.

Ernesto

Alberto

The Map of Their ADVENTURE!!!

Ernesto and Alberto arrive at their first stop at Ernesto's girlfriend's, Chichina, house and her upper-class family are living in Miramar, Argentina. Alberto asks upon their arrival; "Where the heck are we? Switzerland?" In San Martin de Los Andes, Argentina the two lose their tent during a storm and are forced to sleep in a barn, which at first they are highly opposed to. I mean hello they are doctors. Doctors don't sleep in barns. Not to mention, their host isn't the kindest or most welcoming. When Ernesto and Alberto make it to Bariloche they set up an idealistic clinic. Honest to a fault Ernesto reveals to a potential host that he has a tumor, which could cost the two a place to stay.

Off to Chile we go! Here is where "The Mighty One" breaks down, and considering neither Ernesto nor Alberto have any money they have to devise a plan to get the motorcycle fixed. They agree to give an interview at the local paper to attract good favor with the locals. In Temuco, Chile is where the fun starts! The owner of the local shop agrees to fix the bike. After all, he is helping out heroes! Little did he know that Alberto was going to make a move on his wife at that party that night. These actions resulted in a mob trying to attack our main characters, an attack which they barely escaped. After a good run, "The Mighty One" finally is put to rest in Valparaiso, Chile. Okay, we would love to say that it was due to mechanical error, but oh no. It was cows. YES! I said COWS! MOOOOO! No worries the two continue their adventure by hitchhiking.

A key moment in the journey is when they meet a couple of miners who are persecuted for their communist beliefs. This shows a change in the journey for Ernesto and he realizes how he and Alberto are wealthy and don't have to worry about the troubles of the world. Guevara sought to distance himself from the tourist masses, consciously opting for practice of travel that marked him as a non-tourist. This option, Elena suggests, reflected a distinctive position vis-a-vis the nationalism that Peronism south to champion. Like other Argentines of social class, including members of his own family , Guevara was skeptical of Juan Perón, however, he recognized more readily than most that Peronism brought real material and symbolic benefits to the Argentine poor. But in choosing to travel beyond the borders of his native country, Guevara tacitly rejected Perón's narrow nationalism in favor of a more expansive motion that reflected an embrace of pan-Americanism as the basis of his awakening anti-imperialism. The following day Ernesto and Alberto follow the miners to the Chuquicamata Mine where they hope to be picked for work. Seeing the mine workers treated like livestock puts Ernesto into a rage like no other. This causes him to act against Anacond, the mine foreman.

On their final stop of the journey Ernesto and Alberto arrive in San Pablo, Peru at a leper colony. Here it is clear to see a separation of society. The doctors reside on the north side of the Amazon while the lepers reside on the south side of the Amazon. Forming bonds with the lepers Ernesto refuses to wear gloves and touches their hands with his bare hands. He takes the occasion of a birthday party to make his first political speech and and here he shares his pan-American ideas. In the most amazing scene of the movie he braves his asthma and the currents of the river and swims across to spend the evening with lepers. I believe this solidifies the success of the film. 

El Infierno

El Infierno directed and written by Luis Estrada, starring Damián Alcázar as Benny García and Joaquín Cosio as El Cochiloco was released in theaters in 2010. All aboard the CRAZY TRAIN. Our movie addresses the concerns about violence in Mexico. The drug trafficking, organized crime, and violence in Mexico.

El Infierno follows the story of Benny Garcia (Damián Alcázar), a man who leaves his mother and younger brother to emigrate to the United States. Twenty years later, we meet Benny as he’s being deported back to Mexico. “Please move along,” says the American border guard. “And never come back.” From the land of opportunity to his gang-torn homeland, Benny comes back to find that things have changed. His brother had become, before his untimely demise, a big time dealer known as El Diablo, married a smoking hot prostitute and had a son. With a sense of debt to the brother he left behind and couldn’t keep on the straight and narrow, Benny tries to pick up the pieces and take care of his brother’s family. He soon gets far more than he bargained for. Aside from the obvious perks — sexing up his brother’s old lady, becoming a father figure to the boy — there isn’t much left in his hometown. If you want to make money, you deal drugs for Don Jose Reyes, the local kingpin. Caught up in his desire to provide for his newly acquired family unit, Benny takes to dealing. And that’s where things begin to accelerate significantly.

If some of this sounds familiar, don’t be surprised. There isn’t a whole lot that’s new about Benny’s story. He gets involved, reluctantly, with the drug trade and quickly excels. Then he gets a little greedy and begins having to pay the price in blood. Alright, so I can see the Scarface comparison, but only in broad thematic brush strokes. What El Infierno does that’s unique is that it maintains an incredible amount of style and flair. Memorable supporting characters, including Benny’s friend El Cochiloco (Joaquin Cosio), provide color for an otherwise drab, dust-covered landscape. Be it intentional or unintentional — it’s difficult to tell, as the story is delivered completely void of irony — it’s a very funny film. Then it becomes a very violent film. Then it becomes a very, very, very violent film. Then the shooting starts, if you can believe such a thing.
Carried by humor and charisma early on, Estrada’s film ultimately explodes with a blood bath of a drug cartel turf war. No man is left unscathed, no death is unearned and it all pays off with big moments in the final act. Long by at least 15 minutes or so, the film pays its audience back for a slow start by unleashing the grim, hellish fury of Mexico’s gangland conflicts. The turn can be jarring, as the film flips quickly from funny and slow to extreme violence, but in the end it’s plenty entertaining, leaving the audience to believe that it has lived up to its original name, El Infierno (“Hell”).

The Mission

The Mission directed by Roland Joffe, starring Robert de Niro as Rodrigo Mendoza, Jeremy Irons as Father Gabriel, and Ray McAnally as Cardinal Altamirano opened in theaters in 1986. In the beginning we see Native Americans carrying a priest on a cross to the river where he floats until he goes over the falls. We have to ask, what exactly did he do wrong do deserve this punishment?  Located in Jesuit Paraguay in the 1750s , the movie's climax is the Guarani War of 1754-1754, during which historical Guaranis defended their homes against Spanish-Portuguese forces implementing the Treaty of Madrid of 1750. The Mission is partly narrated by "Altamiran" (Ray MacAnally), a cardinal and papal legate who "used to be a Jesuit."


We meet Father Gabriel (Jeremy Irons), the hero of the film, when he paddles upriver alone against the current, ascends the falls, and explores the dark Guarani land armed only with his oboe. His playing entices the simple movie Guaranis into choosing a mission. The Guarani take him back to their village where they begin to learn about the ways of the Lord. Father Gabriel in the beginning and throughout the entire film is portrayed as a very devoted follower of Christ. His mission in the movie is to spread the Word of God. He wants to save the lives of the Guarani people!

This is also where we meet Rodrigo Mendoza (Robert de Niro), who in the beginning is portrayed as an evil man. He has no shame in hunting the Guarani people, which he later sells into slavery or kills. Movie slave hunter Mendoza metamorphoses from violent villain to peaceful hero. After killing his brother, Mendoza withdraws from the world. Father Gabriel assuages Mendoza's guilt by letting him serve Guaranis. As penance, he drags a sack of armor until a Guarani severs him from his burden. The San Carlos Guaranis embrace Mendoza, who now loves but remains superior to them. When they capture a pig, for example, Mendoza refuses to kill it. Guaranis who kill little pigs are brutal primitives. Mendoza's gentle tolerance lets him lose a "king of the canoe" game with an Indian boy. Rodrigo thanks Father Gabriel for receiving him in the missions, and the priest says, "You should thank the Guarani." In the movie we see that the Guaranis accept Christianity right away, but this isn't the case. Many refused for years if not for generations. Guarani ideology failed to appreciate good and evil, sin, and other Christian doctrines. Guaranis believed in capricious magical spirit powers, and native religious practitioners sought to persuade them to help and not to hurt their clients and themselves.

When we final meet Cardinal Altamirano (Ray McAnally) he is deciding if the missions will continue to help bring the Guaranis to Christ or to shut down the missions all together. To complete his assignment, Altamirano visits the "great mission of San Miguel." When he makes it to San Miguel he is fascinated by the Guaranis educational success, a bounteous mission orchard, and Indian singing. Guaranis making violins fascinate him. These images proclaim Jesuit love, not Guarani capacity, and the movie's historical and Indian problems are revealed by the appearance of a Guarani priest at San Miguel, because there were no Indian Jesuits in Paraguay. Altamirano also sees the scars on the Indian slaves that was put there by the Paraguayan master; a man improbably fled from a civil province estate to the missions.

Altamirano must order Indians from their homes. "Though I knew that everywhere in Europe states were tearing at the authority of the Church," he says, "and though I knew well that to preserve itself there, the Church must show its authority over the Jesuits here, I still couldn't help wondering whether these Indians would not have preferred that the sea and wind had not brought any of us to them." This didn't go over well at all with any of the Indians or the priests. They all felt portrayed. Because they love the Guarani, Father Gabriel and Mendoza remain in the mission, violating their vows of obedience. English priests, Fathers Ralph and John, also disobey. Because Mendoza prepares movie Guaranis for war, Father Gabriel warns him not to die with blood on his hands. After all his, Mendoza, work in the mission and after his hard penance he goes back on his vows to the Church and fight back. He refuses to let this happen to the Guaranis! Although Father Gabriel wants to fight back he can't break his vow to Christ. As the movie draws to a close we see Father Gabriel is shot while carrying the cross, but the Guarani follower of Christ continued to carry the cross. We also see that Mendoza takes his old sword that one of the Guarani young boys clean up for him so he can use it to fight back. The movie was a great! Joffe did a wonderful job on showing how priests can guide and direct those people who were living in a life without Christ to a life of Christian beliefs.

Lucía (I and III)

Lucía I: Era of Independence (1895-1898)

In the Era of Independence we see a clear divide between classes. You have the Aristocracy (Lucía and Rafael) and you have the Poor (Fernandina). The aristocracy of this era were know to be wealthy and white. Greatly influenced during the time of "Progress" those in the aristocracy wore elaborate European-style clothing as well as fine jewelry such as pearls. For a woman of this class, she wouldn't dare leave the house without being completely dolled up. After all there was an image to uphold. It must have been MISERABLE! These women live in Mexico for Christ sakes. During the Summer it is far too hot to have on a petty coat, a lavish dress, as well as a hat. I do believe I would be sweating my face off and I would be extremely skinny. Along with the lavish clothing women of this stature almost always carried a parasol with them. Heaven forbid they have to endure the heat waves of the sun. It was common for women to stay at home and have sewing parties, quilting and making hammocks. Church also played a large role in the lives towns people. Anytime the doors were open you could expect to see people there, especially the women. Due to the war and other military related issues men are almost always absent from society. Yet when they were present they too dressed their best, wearing suits with pocket watches, top hats and carrying canes. Most of these people and their families lived in large homes with imported European or other expensive furniture. 

As we all know where there are wealthy individuals there too must be poor individuals. Changing the scenery from that of wealth to the lifestyle of Fernandina (mad woman in the streets) you see that she is extremely poor. Her clothing is made of old rag, she is filthy and in need of a bath. In contrast to the light atmosphere that was presented by the aristocracy, Fernandina's atmosphere is that of pure chaos. It is very violent and at times uncomfortable to watch. As she throws herself around the streets yelling and screaming "LONG LIVE SPAIN", it is quite disturbing. Strangely enough Fernandina tries to stop Lucía from going with Rafael. From her on history she knows it is going to end badly. Fernandina, once a nun, along with many other nuns went out into the battle fields to pray over the dying soldiers. The nuns were ambushed, taken advantage of, and raped by other soldiers. Some time later we see that soldiers coming into town also harass her. Theoretically speaking this may actually be why Fernandina is mad. 

Where is a gun when I need one. As the film progresses we see that Lucía is very melodramatic. Moods are up and down and up and down again. Get it together lady! Lucía's mother tells her she is too easily carried away by her mind full of fantasy, and because she is a good Christian this is only a trial from God It is apparent that Lucía is motivated by her love for Rafael, a Cuban Spaniard who isn't interested in the politics of the world. He just wants to be happy. He too loves Lucía and wants to marry her but she is reserved, although she knows Rafael makes her happy. When acquainting themselves, Lucía lies to Rafael about her brother Felipe's involvement in the war. She plays it off as though he too is avoiding the independence wars like Rafael. This developing relationship between Lucía and Rafael gets a little messy. She finds out that Rafael is married and has children in Spain. Furious she ends everything, only to realize that she doesn't want to live without him. So like a typical woman she takes him back only to be hurt again and left.

Without knowing Lucía becomes a traitor to Cuba. She leads Rafael to her father's coffee plantation, which is the location of her brother and the other independence supporters. This lead to a massive out break of violence and unfortunately Felipe is killed. We notice that the independence supporters are not alone. They are aided by Mambises, black independence fighters. Causing a complete change in Lucía's motivation she becomes more like her brother and is a better representative of the Cuban aristocracy/bourgeoisie. I believe her motives went from being fueled by love to being fueled by hate, rage, and revenge. She is one pissed off woman. Not only did she lose her brother as a result of her actions she also lost her love, Rafael. No worries Lucía is able to get the revenge she deserves and is no longer considered a traitor of Cuba. Hunting Rafael down in the town square she stabs him multiple times. Resulting in his death.

Despite how melodramatic this film was I really enjoyed it. Of course living in the era that I do and having an education on how to support myself, I would never wish to live in this time. Yes, the clothing is beautiful, but who is to say that I would be a fortunate one and be part of the aristocracy. This film is also very supportive of Cuban nationalism. In the reading we see that Solas doesn't show how women were actually a much larger part of the way. He mainly focused on "love" and in the end avenging the death of Felipe. He avoids venturing into the territory oh how many women fled their homes to avoid being sent to concentration camps or how there were also in field "battle nurses" for soldiers.

Lucía III: Communist Construction Era (1966-1970)

As the film begins it is obvious this is not anything like the previous film. Women working? Who ever heard such a thing.  We meet Lucía and see that she is a mix between and African American/Cuban, known as a "mulata". Lucía leaves her house and hops aboard a truck full of women. YAY!!! Women are far more independent and involved in the revolution. Working in the farms and helping their families as well. This idea still holds true for most women in the 21st Century. Catching my attention was the clothing. For hard working people there was no time or space for fancy European clothing. Grab your jeans and a t-shirt and off you go. The image of rural work is all over the place, which meant that this was a time of high agricultural development. Following right along with many traditions there were many parties with drinking and smoking cigars. I mean hello we are in Cuba! This is one of the first times that we are introduced to individuals who hold leadership roles that are of an African background. These individuals, Flavio and Angelina, happen to be the neighbors of Lucía lover Tomas. Pictured are homes of a very modest perspective, no sign of mansions here. During this era it was pressed upon that all peoples of Cuba have at least a basic education. For those needing assistance the government provided literacy teachers. 

It was time for Lucía to show the world that you can be motivated by work. Tomas and Lucía are married and he no longer allows for her to work, becoming a captive in her own home. With all the love for Tomas she tells him: "I have to work." "I have to serve for something." Finally, a woman who isn't afraid to stand up to a man! Now this is my type of movie. A woman empowering film! Overcoming her fear of leaving Tomas, Lucía finally leaves, returns to the far to work. But wait, here comes Tomas chasing after her demanding that she return home simply because she is his wife.

The director of this film wanted us to see the importance of work in communist Cuba. Those natives of Cuba didn't want any outside influence, as depicted when the tourists in the street are dancing. It showed how a class, rural workers, could come together and have bond together to accomplish a task. Flashback to our first Lucía, Tomas is stuck in that era. His character is very contradictory to this era. At the end we see a child laughing. Perhaps this is a message that maybe one day men and women will have the same train of thought and be able to work together. Overall this was a good movie. It showed the beginning of the "Literacy Campaign", which started in the 1960s. This was also know for the depiction of women's emancipation.

"The three Lucías seem more illustrative of the relationship between class and nation than of the rol of women in Cuban history. Indeed, one way in which this film can be read is a allegory, which each Lucía representing, not Cuban women, or even a particular Cuban woman, but the evolution of the Cuban nation toward a socialist society through the progression of social classes."

Viva Zapata!

Viva Zapata directed by Elia Kazan was aired in 1952, quite some time after the original plan to release the movie in 1938. There were many factors as to why the movie took so long to be completed. To the Mexicans Emiliano Zapata was a hero, therefore, it wouldn't be permissible to have any negative words towards Zapata. It was also looked down upon to have a movie that displayed all the bloodshed of the Mexican Revolution. MGM's studio manager Eddie Mannix said: "This bastard Zapata is a goddamn commie revolutionary." But with the help of John Steinbeck they were able to produce the film.

Set in the time of the Mexican Revolution, which began in 1910 and ended in 1920, it is clear to see that all the men for the most part dressed alike. Those who were farmers wore loose fitting clothes, usually white I believe based on the black and white picture. It is a commonality to see men in the fields wearing sombreros. The men of power, further up on the ladder, wore much more elaborate clothing. These men tended to parade around with military clothing as well, more than likely decorated to show their standing in the ranks. For the women the clothing is similar. Those of impoverished farm families didn't have nice clothing. It is seen to be basic, a step back from what was to be expected of Latin American women during the time of "Progress". Yet, we also see women that come from more affluent families that wear lace, have lavish hand fans, and well as many other privileges. Yet when it came to protecting what was rightfully theirs, areas of land, men and women fought side by side. It was common to see a woman with a gun defending herself against enemies who intended to overtake a town or village.

In each group of individuals there is always said to be one that is "outspoken", this is also true for Emiliano Zapata. He is a simple peasant who is also illiterate, but he comes to be the star of the show. We first meet him in the office of President Porfirio Días. Zapata along with his fellow farmers have come to complain of their lands being taken. "Advised" by Días to find their boundary stones, which can't be done without harm coming to those who trespass, Zapata speaks out. Think for a minute if you waltzed into the Oval Office and told President Obama that worthy of the presidency due to his lack of interest in his people. I would assume he would more than likely kick you out. This is just what Zapata did. President Días told the farmers to have patience for these matters take time, and it would be taken care of by the courts. Zapata asked President Díaz, "Do you know of any land suit that was won by country people?" In a very polite way he told Díaz to shove it where the sun doesn't shine, "We make our tortillas of corn, not patience." That to me is where to movie really begins.

Like every man, Zapata has a heart for one woman, Josefa. Ask her and she will tell you that of course she like Zapata, yet she doesn't want to live a life on the run and she want to marry a "rich" man. Typical woman. Always in it for the money and seeking no adventure in life. Josefa seems to be the only person who doesn't know what her admirer is knowledgeable about. We find out that Zapata is the best judge of horses in the area. He has picked horses for leaders to serves in governmental issues. Due to his incredible judge of horses, it is expected that he too have a horse of great quality. Although, we later see that he willingly gives it to a young boy as a reward. I'm not sure I would've so willingly given away the best horse I ever had.


After the fall of Díaz, Francisco Madero takes over. Here we begin to see a change in Zapata. We see that he is the leader of the initial rebellion and is so very easily brought to anger when seeing injustices. For a girl who dreams of a wedding all the time I was excited to see that after Zapata was appointed to General by Madero he is able to impress not only Josefa but her family as well. I would love to say they ran away and lived happily ever after, but that is far from the truth. Zapata only wants loyalty, therefore, he demands it! After becoming General he comes to realize that he doesn't want to be the "conscience" of all people. That is much too overwhelming for him. Reflecting back on the Zapata we are introduced to we can see that his value of land reform has changed slightly, but overall the remains true to reform.

Just like every group has a Zapata, there is also to be found in every group a Fernando Aguirre. The "bad" guy/girl. Aguirre is the totalitarian of the social revolution. He is driven by power! POWER! POWER! POWER! He is said to be ideologically adrift. Aguirre has no home, land, love, family, woman, etc. He goes from one leader to the next, always seeking recognition and power. He is a initial supporter of Francisco Maderno but soon begins to support Zapata. He say: "Unless you consolidate your victory now and rule with a hand of iron, all this will have been for nothing." Aguirre is in a roundabout way saying now is the time to take over and conquer the world. Okay, maybe I stretched that a little bit but essentially that is what he wants!

By the end of the film we see that through all the struggles Zapata has changed. He believed that because of his rank those people's need, his people, were of no great importance. We see a similar version of the first scene at the end of the film. Only it isn't Días who is in charge. It is our one and only Emiliano Zapata. Men, farmers, from his village come to tell him about the complaint they have on his brother, Eufemio Zapata. Land had just been distributed to all those living in the area, but due to his ranking of General Eufemio took it upon himself to take back the land and live in the house. Over the course of the film you see that the brothers are always together, although their priorities aren't always aligned with each other. This is to me the best part of the movie! We begin to see the true colors shine through. Here Zapata is faced with a young man, much like he was during Díaz'a presidency, who talks back and tells him that the men of the village cannot wait. There has to be a solution to Eufemio's madness. Much like Díaz, Zapata too circles the name of the man, Hernadez! Also, keep in mind Eufemio is quite often seen with some sort of alcohol. WARNING: MAY CAUSE SEVERE LACK OF JUDGEMENT. At this time we also see the raw character of our totalitarian Aguirre. Once in the back office Zapata point blank tells Aguirre that he isn't concerned with what he is going to do next. For he is so easily predictable. Zapata knows that now Aguirre will go off and find the next man who hold an office of power and he will slither in like a snake. (POWER!)

Confronting Eufemio was not an easy task for Zapata it appears. After all it is his brother who was there every step of the way and fought every minute Zapata did. It is a clear depiction that power and authority can change anyone. Zapata wasn't going to stand for it anymore, therefore, he kicked his brother out. Remember how I spoke of priorities, this is a very clear example. Emiliano wanted peace to come back to the land, but Eufemio was only worried about his booze and a woman, which happened to be one of his friend's wives. Emiliano Zapata gave great advise to the men who lived on this land. He informed them that if they planned to keep the land they would have to defend it with their lives. Zapata also stated; "There are no strong men without faults..." and "The strong people is the only lasting strength."

You can't kill an idea. Zapata became a hero and is believed to be out there still living in the mountains keeping watch other his people and their lands.

In conclusion it was a great movie. Elia Kazan did an amazing job capturing the ambience of Zapatismo. Kazan presented the film which was an incoherent connotation to American-style democracy/anti-Soviet ideas, but the film still went over successfully with the rebellious and discontent people. It "wrestles in an interesting and provocative way with the contradictions and the conservatism of the rebellion."