Critical Response - Research Paper Example

The film clearly indicates how classical modernism, ‘the thing of the past’ has been replaced by post modernism (Jameson 114). Cultural and social transition The film shows a positive transition in every respect. The opening scene depicts the deserted Madrid side street and the darkest night of Franco’s regime. At the end, the dark empty streets are replaced with bright light and traffic jams. It shows a positive change from dictatorship to democracy. Besides, at the end of the film, David becomes more accommodative after going through the ups and downs in his life.

Same is the case with Victor, who feels that life has com full circle for him. His relationship with Elena and his incipient fatherhood transform him into a better person socially more acceptable. The fears of the 70’s no longer exist in their minds- a welcome change that represents the new cultural ethos that has given rise to democracy and freedom. Victor’s birth is contrasted with that of the unborn baby caught in the traffic jam. This well depicts the cultural change that Spain has undergone over a period of more than 25 years.

Fatalistic entrapment The film tells the story of several characters involved in each other's fates in ways that are beyond their control. According to Morgan-Tamosunas of Anglia Polytechnic University, all the five central characters are bound together by ‘a circular relationship of interdependency’ (188). . Things happen to him. Therefore, like the other characters, he too can be seen as a victim of chance and circumstance. The raw feelings of the characters act as catalysts that speed up the actions and reactions.

They are cyclic in mature and so there is no escape for them from the ‘entrapment. The camera always focuses on circular objects which are symbolically suggestive of the circular entrapment. The main characters are stuck in this circular entrapment of fatalism. Characterisation and Masculinity Carne tremula has three well-developed male protagonists in Victor, David and, to a lesser extent, Sancho. Their masculinity is articulated through certain physical, emotional and behavioural codes. The pursuit of physical power by both Victor and David shows this point well.

The bathroom sequence and David’s performance on the basket ball court focuses on masculinity. In the case of Victor, masculinity has been challenged by Elena and therefore he is obsessed with masculine prowess and physical strength. The rivalry between David and Victor and the consequent muscle-flexing are considered as a test of masculinity highlighted by camera-angle and framing. Sancho is aggressive and masculine in a perverted and destructive way, resorting to physical violence and emotional manipulation.

Clara and Elena are both self-sacrificing characters. Elena suffers repression and guilt complex where as Clara is a victim of self negation. Performance, use of colours and music In Carne Tremula, the ensemble is well-chosen. Liverto Rabal’s (Victor) boyish charm and wit is electrifying. Magnified by the star persona, Javier Bardem’s performance as paraplegic David asserting himself both physically and