russian roulette
by Douglas Messerli
Paz Alicia Garciadiego (screenplay,
based on a story by Juan Rulfo), Arturo Ripstein (director) El imperio de la
fortuna (The Realm of Fortune)
/ 1986
If there is one thing Mexican film
director Arturo Ripstein brilliantly achieves—and fortunately, he is
multi-gifted—it is to capture the character of Mexican and South American
idiot-bullies who, living in isolated poverty, play out a machismo ethos that
ultimately destroys all of those around them and, eventually, themselves. One
might almost argue that such figures of destruction almost obsess Ripstein, as
he returns to them time and again, a bit like the American writer Flannery
O’Connor focused so many of her works on similar kinds of low-class hillbilly
sham artists, rapists, murderers in her vision of the American South.
Later, Dionisio, who begins the film as a kind of town crier acquires a game cock, which demands we watch several brutal cock fights wherein, in each case, one of the cocks is decapitated or plucked to death. When the dead cocks are tossed out in a nearby alley, old women, obviously with starving families to feed, poorer than even Dionisio, quickly gather them up. Even Dionisio’s beloved winning cock, Blondy—whom he has saved from death—is sacrificed out of vengeance, the handler breaking the cock’s ribs before loosing him upon the fight ordered by the local “padrone,” Lorenzo Benavides (Alejandro Parodi).
Throughout the film, in fact, death haunts this terribly common human being, who ignores the death of his servant-like mother (Socorro Avelar), while attending to his beloved Blondy. Indeed, wherever Dioniso goes, death seems to follow, without him realizing that he and his actions are behind it. Lured into the world of cock handlers and gamblers by Benavides, Dionisio suddenly finds himself with a little a bit a money and a life so transformed that he can suddenly imagine Benavides’ girl, La Caponera (the singer, stunningly portrayed by Blanca Guerra), might even be sexually attracted in him. The scene in which these two haunted beasts come together in the “backroom” warehouse of a tawdry bar is almost impossible to watch, particularly given the beautiful Caponera’s almost total abandonment to lust.
Whereas
the fool Dionisio once had nothing to his name, he now has a vulgar new
bejeweled vest, money in his pocket, a casket decorated in ridiculously bad
taste, and a “living” amulet in the form of his new lover. After a few more
gambling wins, the birth of a daughter, La Pinzona (Zaide Silvia Gutiérrez),
and the purchase of a truck, he returns to the estate (formerly a Catholic
boarding school) owned by Benavides in order to bet against his former teacher.
He wins everything, including the building, entrapping his wife (just as had
Benavides previously) within, a bit like the monster Bluebeard. Gambling each
night away with local thugs, with la Caponera forced to sit nearby, he passes
the rest of his empty life meaninglessly winning card game after game. His
daughter grows up practically wild.
What this unimaginative and stupid compesino does not perceive is that in his attempt to hold on to all that he has amassed, he has been playing yet another game, this one similar to Russian Roulette. Time and again, in his abusive nights of meaningless amusement he has put an invisible gun to his head that threatens to shatter everything that might be of meaning.
In one final long night, with his wife
sitting on a couch nearby, Dionisio begins to lose— game after game after game.
Slowly throughout the night he loses his vast wealth, and, finally, bets and
loses his house. Only at the end of his self-delusion (reminding us of the
death of his mother early on in the film) does he realize that during his orgy
of gambling, the drunken singer has died. In anger, he kicks her, blaming her
for leaving him just as he had previously blamed his mother.
His amulet gone, he retreats into another
room to shoot himself in the head.
In the final scene we observe his now
promiscuous daughter, raised upon a small stage just as was her mother, singing
a song about roses. Despite the fact that we see in her actions that she, like
her parents, is trapped in the world she inhabits, we also perceive through her
beauty and the loveliness of her song just what her mother, La Coponera,
proffered to the poor, ignorant beings of the villages she haunted.
If Ripstein’s film has presented us with
stereotyped individuals who seem doomed in their preordained behaviors, we also
have been forced, by movie’s end, to lay aside what might have begun as
dismissal and disgust as we now lament the death of such misled dreamers as La
Coponera and the impoverished Dionisio. In telling their predictable story,
accordingly, the director and his writer have also helped to redeem what
otherwise might be perceived as empty lives. Dionisio, despite the lurid
attractions of money and power which destroyed him, truly only loved two things
he encountered in his life, his cock Goldy and his singing wife. If only he
could have more carefully focused upon what he loved instead of being
distracted by his culturally bred values. If only we could all say we loved so
passionately as he did.
Los Angeles, July 20, 2014
Reprinted
from World Cinema Review (July 2014).
No comments:
Post a Comment