Analysis Of Nosotros Los Pobres Film Studies Essay

Analysis Of Nosotros Los Pobres Film Studies EssayIn the 1948 film Nosotros Los Pobres the representation of maternal and paternal portends confirm Octavio Paz theories of the Mexi support identity crisis as well as ascribe to the stereotypes described by Monsivis. Octavio Paz states the Mexican race is subject to gsuspicion, dissimulation, irony, the courtesy that shuts us away from the unsungr, all told the psychic oscillations with which, in eluding a strange glace, we elude ourselvesh. To Paz the Mexican race is an oppressed one, a servant race hiding behind masks and smiles. The Mexican is of the subservient worker mentality, he/she always thinks of cosmos brought down by external forces. These forces be not external gthey are impalpable and invincible because they are not outside us but inwardly ush. For Paz the totality of the Mexican existence is that gonly when they are alone, during the great moments of life do they dare to show themselves as they really areh. To both Paz and Monsivis the Mexican (male) is a soulfulness of many contradictions a person who is sensitive, angry, arrogant, wise, ignorant, dedicated, womanizing, distant, and stirred. The Mexican holds all of these things in himself at one time and in extreme moments bursts out. Monsivis makes the connection between the poor and the need for gambol or melodrama gthe audience could forget its own economic woes with the discovery that so many shared its own misfortuneh. For the Mexican young-bearing(prenominal) and male, the world and life makes the nearly sense when they are suffering. There is probably no better representation of this suffering, the trials of life, the melodrama, the extreme delirious contradictions of the Mexican than in Nosotros Los Pobres.By isolating the paternal figure to the character Pepe, we can examine how he is a textbook representation of the contradictory Mexican male in an identity crisis. Pedro Infante as Pepe comes to be the prototypical Mexican male. Monsivais describes this male as alternatively and simultaneously brave, generous, cruel, rakish, romantic, obscene, able to make the greatest sacrifice, family-oriented and a friend until death. Pepe as a father is a both times generous and cruel, this is evident throughout the film in various scenes with his lady friend. Pepes dedicated paternalism comes out any time he has to console his daughter and tranquillise her that he will never replace her mother. His sweetness comes out in the scene in which he apologetically croons his daughter with a birthday song. His sing for his daughter just comes after one of his cruelest moments in the film in which he slaps his daughter in response to her accusing him of killing her mother. In slapping his daughter Pepe literallizes Paz quote, his daughter becomes the person who suffers this action is passive, inert, and open, in contrast to the active, aggressive and closed person who inflicts it. Pepe is of quarrel arrogant, pridefu l and closed, all because he wants to spare his daughter of the dishearten of knowing who her real mother is, by slapping his daughter Pepe all at once trying to protect is daughter and suffers from a moment of emotional volley where he in Paz terms becomes the chingn. To say whether Pepe is a chingn is a paper topic in and of itself, for now his moments of organism a chingn can be considered as part of himself, part of the bigger whole that is the Mexican identity, just one more part of the contradictory Mexican. Pepes chingn comes out in one other scene, the scene in which his sister reveals herself as the girls mother (to the audience) and begs for Pepes forgiveness. As presented his sister doesnt seem to deserve the hatred and unforgiving emotional lecture that Pepe heaps on her. It is as if his own pride, arrogance, and all-around Mexican identity keeps him from forgiving his sister. Pepes unforgiving of his sister can be chalked up to serving the melodrama of the film.The Mexican romantic in Pepe comes out in any scene Pedro Infante shares the screen with the many women who adore him. Pedro Infantes natural talent of singing comes into play as well. The sound scene between him and his sweet innocent pure love interest Celia Pepe at his most romantic. Pepe reveals himself to be a man of honor and dedication when resists the advances of La Que Se Levanta Tarde, sometimes Pepes verbal sparring borders on cruel. The scene in which La Que Se Levanta Tarde forces Pepes face into her bosom through comic action is of course played for laughs.The last facet and stereotype of the Mexican male is that of machismo. Pepe displays this machismo in the films later half which shows Pepe in prison and literally fighting for his life. Pepe violently get the better of the criminal responsible for the crime Pepe was accused of. Although this resolution is simplistic, it nonetheless serves the purpose of the melodrama, Pepe proves his innocence by beating the crap out of the other guy. By wake all these facets of the Mexican identity and male, Pepe fits the stereotypes suggested by Paz and Monsiv. Pepe through all his contradictions and variety as a man, he comes to represent the whole of the Mexican identity crisis.The female that comes to represent maternity and the female stereotypes is the character of Celia. Celia is all at once pure, sweet, vulnerable and mistreated. To Paz, Celia comes to present the chingada, female, who is pure passivity, defenseless against the exterior world. Celias passivity comes out in a small scale in two scenes. The scene in which her father forbids her from seeing Pepe or being courted by Pepe, her response is of course emotional openness which makes her vulnerable and ineffective against her father who holds power over her. The other scene in which Celia is passive and open is the scene in which she confront Pepe for the truth. Again, Pepe shows his emotional contradictions in this scene, as Celia through her l ove and openness is simply trying to get Pepe to tell the truth of Chanchitas mother Pepe in turn treats Celia cruelty. She is vulnerable and once again Pepe is a chingn, prefers to be in solitude rather than be open and vulnerable to Celia, and Celia is the one suffer from it, she even throughly expresses her love and care for Pepe, who in turn in only unreceptive not because he is because he is trying to save Celia as well. Through his emotional cruelty Pepe is saving Celia from being with him, sparing her of being with the complex man who would rather be anyone but himself.Both Pepe and Celia come to represent a sketched portrait of a people generous, prejudiced, and more emotional than rational pious and fanatic an enemy of bigotry and more liberal than it seemed inhibited by Lord and Master. The people of Nosotros Los Pobres, whose nicknames define their personality traits, are people of a community suffering from the Mexican identities, all these facets at one. It comes as now surprise why Nosotros Los Pobres is considered on the best Mexican films of all time. It is a representation of universal truths specific to the Mexican and one of the finest examples of the Golden Age of Mexican Cinema.