The Society, Politics, and Women in Chicano Films - Movie Review Example

Chicano Study: The Society, Politics and Women in Chicano Films Introduction: During the early years of modern film making tradition, Chicano or Latino films did not attracted enough attention of mainstream Hollywood industry and exhibition of such films was to some extent restricted. The Latin American urban regions, namely, Buenos Aires, Mexico City, Rio de Janeiro and Sao Paolo were mainly dominated by films from mainstream Hollywood tradition (Hart 2). Consequently, there was a lack of investment factor, which led the Latin American nations to encounter a great deal of difficulty in developing their respective national film industries (Hart 2). At the same time, there are quite a few instances, where Chicanos were represented in a narrative manner to the audience and the early 21st century “Greaser” films are excellent evidences in support of such observation (Fregoso xvii). Continuous quest by the commercial film makers during the years of 1940s and 50s was gradually changing the perception of Latin American films to the Hollywood film industry. The new age potential directors also realized quite clearly that in order to create critically acclaimed cinema it is important to come up with new cinematic styles as well as striking storylines. In the context of adopting experimental cinematic style in the Latin American film making scenario, the Neo-Realism of Italy and the New Wave genre of French contributed to a great extent (Hart 7). Changes of this kind were mainly occurring during the 1960s and this decade is widely acclaimed by film scholars across the globe as the most important period for the Latin American films as during this time, the Latin American film making tradition developed its uniqueness and identity (Hart 7). In addition to this factor, the Cuban revolution also introduced a great deal of change at the socio-cultural and political perception of the common Latin American people. A new wave of socialism was introduced by the revolution and it surely created huge impact over development of the Latin American cinema. The social unrest, Chicano student movement and political radicalism immediately became interesting subjects for the filmmakers and they started incorporating these aspects in their creations. One of the pioneer Chicano films I Am Joaquin (1969) is a great instance that incorporated elements of this socio-political activism in an effective manner (Noriega and López 5). At the same time, establishment of Field Castro as the center of power provided the film industry exactly with the kind of support that it lacked for a long time. Another important contribution of the Cuban revolution was that through the new wave socialism it introduced a kind of social consciousness among the contemporary filmmakers that they realized life of Latin American inhabitants convey “something intrinsically different about the way life was lived in the southern continent of the Americas” (Hart 9) and such consciousness resulted in immortal film creations, namely, Memories of Underdeveloped by Gutierrez Alca and Lucia by Humberto Solas. Exposition of such works to a larger audience and huge appreciation of the new era Latin American films, since the 70s onwards, was attracting attention of the Hollywood film makers. A careful observation of the contemporary socio-cultural, economic and political condition of the contemporary Latin American startled the Hollywood film industry with the fact that Latin American films comprise excellent degree of both artistic and commercial potentials. This realization received a further stronger foundation as Camila (1984) by Lusia Bemberg and La hisoria oficial or The Official Story (1984) by Luis Puenzo were nominated for Oscar in the category of Best Foreign Language Film. The Official Story also won the award and immediately opened up a new avenue for the Latin American films to claim appreciation of the global audience. The era of 1980s witnessed emergence of the Latin American films as mainstream cinema and at the same time, created huge impact over directors of different cultures from the perspective of storytelling or presenting small incidents with the effect of huge importance in the lives of common people. La historia oficial or The Official Story: La historia oficial or The Official Story (1984) by Luis Puenzo bears huge importance when it comes to undisputed reception of the Latin American film as mainstream cinema. This film masterfully shows that how daily life of certain individuals can be used to provide a detailed impression of an entire society and how the civilians encounter their respective problems, while living in an entirely Latin American social scenario. On one hand, the film presents existentialist as well as identity crisis that hover around Alicia, her husband Roberto and their daughter Gaby. On the other hand, through their interaction with the other people, it also reveals the kind of socio-political pressure that people had to deal with in the contemporary socio-political condition of Argentina. Alicia’s interaction with Ana, her friend, is very important in this context. During this discussion the audience comes to know that Ana faced tremendous oppression during her stay in the country and finally she had to leave Argentina (Hart 117). The way Ana shares her experience with Alicia- it definitely created a huge impact over Alicia’s perception about political scenario of her country. At the same time, Alicia personally is stormed inside regarding true identity of Gaby and her quest to search for Gaby’s actual identity places her amidst the situation of unpleasant marital conflict with Roberto. Gaby’s disappearance, finally, shatters the bond between them and sudden frustration led Roberto to the extent of losing his temper. Amidst his fit of anger he inflicts serious physical abuse over Alicia, damaging her hand and thrusting her head against wall. The last scene of the film shows Alicia leaves Roberto after embracing him (Hart 117) and at the same time provides the audience with a clear impression of separation, desolation and end of mutual trust. This film, within its limited scope, has focused over several issues that created huge impact over the inhabitants of Argentina during the contemporary society. Consequently, it also has provided a clear indication of the fact that no matter how much the political ideologies boost the aspects of human liberty, fraternity and vision to a better social existence but in case of applying these aspects in actual social context, these fundamental principles are twisted to such an extent that those become far removed from their actual status. This film has not only provided a comprehensive idea about the plight of social existence of the common people in a particular socio-cultural arena but at the same time it also has reflected over the psychological crisis that those people encounter, generated due to their respective identity and existential crisis. To understand the cultural-aesthetic dimensions of different societies it is important at the first place to go through the psychological basis of inhabitants of the society. However, it is always not possible for an individual to be present physically in such a socio-cultural backdrop and evaluate the cultural-aesthetic dimension of the people but in this context movies produced from those societies are sources of abundant materials that help an individual to indentify the reactions of people belonging to a particular society, regarding their situation of living as and exploring basic features of their identity as well. What we call today as globalization, has received a great deal of boost from the due to the Latin American films as these films have elevated the aspect of social existence of the Hispanics and the situations that on a regular basis they have to encounter. Prior to the evolution of the Latin American films, these aspects were widely unknown to most of the people across the world. These films have clearly pointed out that Latin American people are also suffering due to the political oppressions just like other people in different socio-political domains and their respective suffering is so similar with residents of other societies that it automatically receives a tone of universality. One of the main reasons behind undisputed acceptance of the Latin American films as mainstream cinema is that these films successfully helped people of the Western society that despite several apparent differences all human beings are emotionally and humanly very much similar. The Official Story supported this argument in a very crafted, subtle yet explicit manner. The psychological and emotional crisis that protagonists of the film have suffered can be abundantly witnessed in the Western social scenario. Moreover, the Western people are also not inexperienced about ill effects of the political oppression and the kind of havoc that it can create in the context of social existence of an individual. Here lies the main success factor of “The Official Story” that it has successfully represented the essence of modern existence despite its entire focus over a specific socio-political domain. Frida: Frida, as a film, on one hand, exhibits intellectual revolution in the Mexican context and on the other, the character of Frida has emerged as an embodiment of feminist evolution as well as participation at equal level with their male counterparts in such revolution. Moreover, the character of Frida would only have received a sense of fulfillment if different traits of her personal life, construction and deconstruction of her personality and finally her self-respect towards her artistic persona could have been provided with adequate attention. There is no denial of the fact that the fusion of directorial capability of Julie Taymor, cinematographic and editing mastery of Rodrigo Prieto and Felipe Fernandez has helped in producing the aesthetic appeal in the film that has helped in generating a class of its own (Friedman 186). The character of Frida has emerged in the film, through excellent portrayal of her emotional faculties, artistry, frequent and spontaneous voyage into the world of imagination, sexuality, transformation and construction and deconstruction of her personality in different phases of her life. It is important to notice in the film’s context that it has never particularly focused on Frida as an artist; rather it has attempted to elevate Frida as a human entity. It is due to this reason Frida has not remained stagnant within the domain of artistic creativity or her individual isolation but she actually has become a representative of the condition of women in contemporary Mexico. At the same time, considerable focus on the socio-political affairs happening around Frida and her spontaneous participation the entire situation also provide the audience with an impression regarding the prevailing Mexican social situation in the contemporary era. The artistic scenario of Mexico, contemporary to that of Frida’s, exhibits a steam of “mestizo consciousness, a complex interweaving of both the European and the Latin American, of the “indigenous and the modern…” (Friedman 189). The emergence of Frida as an artist, has received a great deal of influence from the aesthetic setting, “In this new space that was being crafted for a modern Latin American aesthetic, the racial and “organic” nature of women was still invoked …. Kahlo … influenced by the post-revolutionary investment in the indigenous culture, and its conscious foregrounding of folk art as a vital part of the modern nation, fashioned herself as a modern mestiza” (Friedman 189). Salma Hayek’s role as the protagonist in the film has been passionate, technically well oriented and reflective of her deep perception of Frida’s character. The film has focused on development of Frida as an individual, as an artist since her adolescence. Salma Hayek has assimilated her persona so deep in Frida’s character that she has been able to depict the stains of her pain, isolation, physical desire and artistry through acting. A very important part of such character portrayal is that it never seems to the audience that Frida is a product of Western or Hollywood culture. Despite every traits of her personality, which has generated from contemporary Mexican social, artistic and aesthetic cosmopolitanism, Frida is very much Mexican and universal at the same time, in terms of her creativity and human endeavor. Hayek’s portrayal of Frida’s character is not only a clear assertion of excellent acting technique but at the same time it is remarkable because the actor has been able to free herself spontaneously from the ongoing trend of acting according to Hollywood style. Comparison Between La historia oficial or The Official Story and Frida: Among several changes within the social arena of 20th century at the global context, common people have become familiar with the term “Globalization”. The philosophical outlook, which is incorporated with the terminology, clearly states that the whole world will be like a village and following the policies will ensure harmonious lifestyle of people in every society. There will be lack of suffering and people will receive an opportunity to lead a better life. Unfortunately, pondering over the actual situation, it seems that such promises were mainly aimed at developing lives of the common people of the Western society; whereas inhabitants of other societies are destined to live only being recognized as underdeveloped or oppressed, “Uneven processes of development characterized Latin American countries throughout the 20th century, and continued to do so in an increasingly globalized new millennium” (Shaw and Dennison 2). The new age Latin American filmmakers, through their creative works, have repeatedly emphasized over the aspect that tragic plight of the underdeveloped social existence for the inhabitants of the Latin American nations have actually been caused due to the prolonged colonial ruling and internal political conflict. Involvement of the United States with the political situation of Latin American nations has worsened the situation. In both these films, the filmmakers have provided special attention to individual characters and through their actions they have attempted to portray an elaborate socio-political condition of the Latin American nations. In The Official Story (1984) Ana’s narrative discloses the magnitude of common people’s suffering during the war, where more than 30000 people were assassinated and more than 100 journalists were killed as they did not stop themselves from reveling true nature of the military leaders, who were exploiting the common people in name of political ideologies. Frida on the other hand encompasses the struggle of a woman to retain her individuality and equality with her male counterparts in the contemporary socio-political and intellectual domain of Mexico. While the emergence of Frida as a globally acknowledged artist has made her a figure of universal appreciation, at the same time, her triumph can be regarded as an instance of the celebration of womanhood. Moreover, keeping in mind the social restrictions, patriarchal oppression and subordination of womanhood in the Latin American nations, this celebration of feminism becomes highly significant. Frida, in terms of her artistic talent, assertion of individuality and quest to attain her identity as a dignified individual in the society has not only defined the conventional patriarchal norms but also as a representative of the oppressed womanhood she has claimed her rightful position in the society. Compared to Frida, Ana neither has such extraordinary talent, nor has her cultural upbringing provided her with sufficient intellectual strength so that she can raise her voice against the dominating and exploitative forces. Irrespective of such limitations she does not fear to express her grief and concern about plight of the common people of her nation. Her anxiety, grief might not have the desperate defiance as that of Frida but keeping in mind her socio-cultural existence as a woman, her narrative can be regarded as a strong protest against social corruptibility, which is encouraged to a great extent by the patriarchal social construction of the nation. Works Cited Fregoso, Rosa Linda. The bronze screen: Chicana and Chicano film culture. Minnesota: University of Minnesota Press. 1993. Friedman, Jonathan C. Performing difference: representations of "the other" in film and theater. Maryland: University Press of America. 2008 Hart, Stephen M. A companion to Latin American film. Suffolk: Boydell & Brewer Ltd. 2004 López, Ana M. and Noriega, Chon A. The Ethnic eye: Latino media arts. Minnesota: University of Minnesota Press. 1996. Shaw, Lisa and Dennison, Stephanie. Latin American cinema: essays on modernity, gender and national identity. North Carolina: McFarland, 2005 Read More