The Film Camila Essay -- Maria Luisa Bemberg Movies essays papers

  Ã‚  Ã‚  Ã‚  Ã‚  The film â€Å"Camila† was produced in 1984 and directed by Maria Luisa Bemberg (1922-1955). Based on the true story of Camila O’Gorman, an Argentine woman who falls in love with a priest in 1840’s Buenos Aires, this story dealt with the terrifying reign of Juan Manuel de Rosas. Camila is from an influential family and is betrothed to a Rosas loyalist. She is passionate and daring, just like her grandmother, and reads books that have been censored by the ruthless Rosas. When she falls in love with Father Ladislao, the two flee Buenos Aires and assume new identities as school teachers in a small village. During a party, a priest from Ladislao’s old church recognizes Ladislao and turns them both in. They are both executed by firing squad even though Camila is pregnant.   Ã‚  Ã‚  Ã‚  Ã‚  The director, Maria Luisa Bemberg was a famous director known for attracting actors like Imanol Arias who were already established in their careers. Her most famous films are â€Å"Camila† (1984), â€Å"I, Worst of All† (1990), and â€Å"I Don’t Want to Talk About It† (1990) (McClennon). Many of her films, including â€Å"Camila† had similar themes. She often criticized patriarchies and authoritarianism by telling stories of courageous women who dealt with historical events that had direct effects on women.   Ã‚  Ã‚  Ã‚  Ã‚  Camila’s father, Aldolfo O’Gorman, represents a more intimate version of Rosas. He brings the terror of the government into her home, reminding her daily that she should do only as a respectful and loyal socialite woman is expected. He is obsessed with moral obligations as outlined by the Catholic Church, and also loyalty to family, church, and state. However, the family’s loyalty is meant for the male head of the house. The first scenes of the film show Camila playing with kittens, then cuts to the servant who is carrying out her orders to drown the kittens. This scene immediately develops the cruelty the film will display within the O’Gorman family and the terror of the Rosas regime. Later, he scolds her at the dinner table, in front of guests, for questioning Rosas’s laws and ideals. Taken to extremes, he even turns her unto Rosas when she elopes. d also represents the order of repression in the movie. Rosas oppresses the men unfairly, and then they go home and do the same to their wives and daughters.   Ã‚  Ã‚  Ã‚  Ã‚  Camila is also inspired by her grandmother, Ana Perichon. La Perichona was known to be... ...t loved ones decapitated heads on spikes in the square. Red was indeed the color of the ruling party, and obsessive adherence to the mandate to always wear read was not optional, but mandatory for life (Wilson). Other details like the lace scarves worn to mass, the banned books, the frequency of mass, and the clothes were customary for the time period.   Ã‚  Ã‚  Ã‚  Ã‚  Because â€Å"Camila† was released shortly after the end of the Argentine Proceso, it was clearly a timely criticism of dictatorship in Argentina. The real story of Camila occurred in a time following a brief bout with democracy. This film could be seen as a cautionary tale in terms of warning against ever returning to that form of government. If this, indeed, was Bemberg’s intentions, she was a brave, courageous woman that would have made a great character in one of her own films. Works Cited Barrera, Adriana, et al. Cinergia Movie File: Camila. 10 Apr. 2001. 15 Feb. 2005 . Cagliani, Martin. Argentine Women. University of Buenos Aires. 15 Feb. 2005 . McClennen, Sophia. Bemberg, Maria Luisa. 15 Feb. 2005 . Wilson, Bobbie. Camila O'Gorman. 2003. 15 Feb. 2005 . Wilson, Bobbie. Styles of Camila. 2002. 15 Feb. 2005 .