Archive series revives Mexico's classic films
By Andrew Wenzlaff
Sept. 25, 2004 9:00 p.m.
Boasting a history as old and illustrious as that of Hollywood,
it’s a shame that Mexican cinema has been in a funk since the
mid-1950s. With the exception of some noteworthy peaks in the
’70s and early ’90s, south-of-the-border cinema rode
through most of the second half of last century on trite themes
like cowboys, slapstick comedies and masked wrestlers. These images
became the stereotype that stuck in the heads of the new generation
of moviegoers, while the stunning melodramas of Mexico’s
Golden Age fell into obscurity.
But then the millennium came, and two movies, “Amores
Perros” and “Y Tu Mamá También,” proved
that Mexican cinema had creativity and international appeal. With
the newfound interest in Mexican cinema, the time is ripe to string
up some of the classic reels. Many of these old films have recently
been made available, and will be shown throughout October by the
UCLA Film Archive.
“Mexican cinema has a long and rich history and it’s
right next door to us,” said David Pendleton, programmer of
the UCLA Film and Television Archive. “Many film-lovers know
less about Mexican film than European cinema, which is much farther
away.”
The Archive’s series is a showcase of some of the best
Mexican films in history, from the silent era to 2000 ““ many
of which are not available from ordinary video stores. It is an
opportunity to see these intriguing works of art on the big screen
and to hear introductory lectures from prominent guests like
Alejandro González Iñárritu, director of
“Amores Perros” and “21 Grams.”
Many of the featured works are from the Golden Age of Mexican
cinema ““ the time ranging from the 1930s to the 1950s. During
this time, Hollywood and other competitors were busy making war
propaganda films, leaving the market open for Mexico. Sexy
actresses like MarÃa Félix and Delores del RÃo
became huge stars in their homeland and in America, and they
continue to be legends of Marilyn Monroe’s status today. The
studios thrived, producing batches of quality films that managed to
be both entertaining and culturally relevant.
Through engaging melodramas, Golden Age films dealt with social
issues like what it meant to be Mexican in a time of revolution.
They were also popular abroad. Movies were Mexico’s
third-largest export, especially popular in the states as evidenced
by the some 400 Spanish-language movie theaters here. With more
relaxed censorship codes, and a different cultural perspective,
these films provided American audiences with something that
Hollywood couldn’t offer.
“Mexican cinema didn’t have the same kind of
censorship as Hollywood did,” said Pendleton. “In a
film like “˜Aventurera,’ there’s a lot of racy,
raunchy content that pushes the borders in ways that was harder to
do for filmmakers in Hollywood.”
“Aventurera” shows a distinct slant on storytelling.
For one thing, Mexican films gave women a stronger role in the
plot, said UCLA film professor Chon Noriega.
“If you’re familiar with the Hollywood melodramas of
the ’40s and ’50s and you go see
“˜Aventurera,’ you are in for a real shock,” he
said. “More happens in the first 10 minutes of that film than
in most of Hollywood of that time.”
The Golden Era blossomed in the late ’40s when surrealist
Spanish director LuÃs Buñuel made some of his most
creative work in Mexico. In his Cannes-award-winner for best
direction, “NazarÃn,” which screens on Oct. 16,
Buñuel makes a provocative critique of the Catholic religion.
This film portrays the adventures of a handsome priest who sets off
on a mission of charity to the poor. Discouraged by his
ineffectiveness and tempted by a group of women followers, he
starts to doubt his faith.
“”˜NazarÃn’ shows one of
Buñuel’s favorite themes, which is the uselessness of
Christian charity,” explained Alejandro Pelayo, filmmaker and
consul for cultural affairs and consulate general of Mexico, Los
Angeles, who will be introducing this film before its screening.
“It wasn’t valued in its time, but now it’s
considered a master work.”
The Golden Age faded in the mid 1950s, partially due to
competition from Hollywood and television. The once-thriving film
industry collapsed. When production picked up again in the
’70s, state-supported independent projects, rather than
studio productions appeared. These films were stylistically
distinct from the Golden Age films, in that they were more
personal, urban and experimental.
October’s film series features many post-Golden Age
highlights, like “Canoa” and “The Change”,
both showing on Oct. 13. “Canoa” is a road trip movie
portraying the urban and rural cultures of Mexico. It was also one
of director Alfonso Cuarón’s biggest inspirations for
“Y Tu Mamá También.”
“These two films are time-capsule pieces,” said
Pendleton. “They show you that Mexico had counter-culture in
late ’60s and early ’70s, just as we did. But they are
also really compelling dramas and nail-biters in the same sense as
“˜Easy Rider’ or “˜Deliverance’ or something
like that.”
With the successes of the last decade, people are starting to
notice Mexican cinema again. Pelayo said that attention is turning
toward these recent films because they have been able to speak to
an international audience. But that doesn’t mean the old ones
aren’t worth watching.
“The films that we are showing are actually
exciting,” said Pendleton. “When you see them on the
big screen the way that they are meant to seen, you will see that
old doesn’t necessarily mean boring or slow or puritanical.
They can actually be quite entertaining.”
