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Burton Thesis Final ABSTRACT CONTEXTOS NACIONALES Y TRANSNACIONALES: LA NUEVA REENCARNACIÓN DEL MELODRAMA EN LA PELÍCULA BELLA (2006, ALEJANDRO MONTEVERDE) by Mary Ashley Burton The present study analyzes Mexican film director Alejandro Monteverde’s first feature film Bella (2006) and its relationship to classic Mexican cinema, particularly to the genre of the family melodrama. When analyzed in this context, the themes that emerge in the film- emotional excess, family unity, the centrality of the mother figure, the privileging of rural over urban spaces, the importance of Catholicism and conventional gender roles- become more than just melodramatic tropes, but rather represent an attempt on the part of the filmmakers to renegotiate the terms of a Mexican national identity consolidated during the 1930s and 1940s. Bella rearticulates the values and concerns of traditional Mexican culture within a modern, transnational space, developing a hybrid aesthetic that encompasses both the traditional and the modern, the national and the transnational. In both its aesthetic and its thematic content, the film ultimately assures the triumph of traditional notions of “mexicanidad”. CONTEXTOS NACIONALES Y TRANSNACIONALES: LA NUEVA REENCARNACIÓN DEL MELODRAMA EN LA PELÍCULA BELLA (2006, ALEJANDRO MONTEVERDE) A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Spanish and Portuguese by Mary Ashley Burton Miami University Oxford, Ohio 2012 Advisor___________________ Kerry Hegarty, Ph.D. Reader____________________ José Domínguez Búrdalo, Ph.D. Reader___________________ Darcy Donahue, Ph.D. ÍNDICE DE CONTENIDOS Introducción................................................................................................................................1 Bella y el contexto del melodrama ..............................................................................................7 Bella como proyecto transnacional............................................................................................15 Conclusión................................................................................................................................39 Obras Citadas…………………………………………………………………………………….44 ii DEDICATION To my two mothers, one earthly, one celestial. iii ACKNOWLEDGEMENTS First and foremost, I would like to thank Dr. Kerry Hegarty. It was her class on Mexican film that awakened in me a love of film that had been lying dormant and introduced me to new ways of seeing and analyzing film as a medium. At the end of her class, I first saw Bella and knew upon leaving the theater that I wanted to analyze it as my thesis. She has supported me unceasingly in both the planning and execution of this thesis throughout the long process of its creation. I would also like to thank the producers of Bella. I hope that I have been able to treat your work respectfully. Your film gave me an incredible opportunity for analysis and it has become a sort of companion for me over the past four years. I admire you for your mission and goals and look forward to seeing your work in the future. I’d like to mention my past professors, Dr. Fred de Rosset, Dr. Margarita Graetzer, and Arthur Rouse. Drs. de Rosset and Graetzer are still invaluable resources for me as they were during my undergraduate years, and Arthur’s filmmaking program truly enabled me to take my film analysis to a much deeper level since it gave me my first opportunity to become a filmmaker myself. Thank you also to my family, and in particular my mother, who first convinced me to see Bella despite the negative reviews I had read. I truly owe her the seeds that eventually became this study. iv Contextos nacionales y transnacionales: la nueva reencarnación del melodrama mexicano en la película Bella (2006, Alejandro Monteverde) Introducción Recientemente un renacimiento en el cine mexicano ha hecho surgir una variedad de estudios sobre la nueva generación de directores mexicanos y películas que, después de un período de escasez de calidad, han recibido mucha atención crítica tanto nacional como internacionalmente. Esta nueva generación representa nuevas perspectivas en la búsqueda continua de representar una identidad nacional mexicana formada por la modernidad. Sin embargo, el estudio académico de la representación de mexicanidad1 en el cine suele limitarse a directores mexicanos que hacen películas en México con el apoyo de los estudios de producción. El presente estudio intenta revelar los varios enlaces que existen entre la tradición cinemática mexicana y la reciente película independiente Bella (2006), rodada en Nueva York por el director mexicano Alejandro Monteverde. Aunque Monteverde2 es un inmigrante mexicano a los Estados Unidos, y graduado de la facultad de cine en la Universidad de Tejas, Austin, su primer largometraje- Bella- no suele tratarse como un producto de la larga tradición cinemática nacional de México. Yo arguyo, sin embargo, que Bella es una aportación importante al discurso de identidad nacional mexicana, sobre todo en cuanto a la manera en que este discurso negocia las relaciones complicadas entre lo mexicano y la cultura dominante de los Estados Unidos. Para mejor entender cómo se manifiesta este discurso dentro de la película, es importante primero señalar las críticas muy polarizadas que ha recibido esta película por parte de los críticos estadounidenses. Bella se estrenó el 9 de septiembre del 2006 en el festival de cine de Toronto y asombró tanto a los críticos como a Monteverde mismo cuando fue premiado con el People’s Choice: 1 Siguiendo el ejemplo de Charles Ramírez Berg en su libro Cinema of Solitude, aquí se emplea el término “mexicanidad” para referirse a una búsqueda de identidad nacional definida por Octavio Paz en Labyrinth of Solitude, entre otros: “The whole history of Mexico from the Conquest to the Revolution, can be regarded as a search for our own selves, which have been deformed or disguised by alien institutions, and for a form that will express them” (Paz 166). 2 Aunque Monteverde es el seguno apellido de este cineasta, la prensa estadounidense se refiere a él usando sólo este apellido, mientras la prensa mexicana con frecuencia lo menciona con los dos apellidos. Para que este trabajo quede uniforme, hemos optado por referirnos a él como Alejandro Monteverde. 1 Stunning the filmmaker and critics alike, the Toronto Film Festival on Saturday gave first-time director Alejandro Gomez Monteverde its prestigious People's Choice award for his romantic film Bella. Accepting the award, Monteverde, a 29-year-old Mexican- born director who came to the U.S. as a teenager, said: "I really hope that this is not a dream and that I don't wake up at film school. This festival is my first festival, it's my first film, it's my first everything." (imdb.com) Bella disfrutó de un nivel de éxito sorprendente después del festival de cine de Toronto también: Last September, the Smithsonian Institute presented Bella’s filmmakers Eduardo Verastegui (actor/producer) and Alejandro Monteverde (writer/director) with the prestigious “Legacy Award” for their film Bella at its annual gala. The Legacy Awards honor role models who have made a significant impact on American culture and society through their art. “Bella is a masterpiece and it will be in the Smithsonian’s archives along with the Hope Diamond, the Star Spangled Banner and the Ruby Slippers,” said Henry Muñoz, the Chairman of the Smithsonian Latino Center. In addition to pleasing the Smithsonian Institute, Bella became the #1 Top Rated Movie of 2007 from the users of the biggest film review website in the world, www.RottenTomatoes.com. [...] The Wall Street Journal said Bella was “the biggest surprise of the Year” because it generated the largest box office results of every film released in 2007 in its category (Glickman 1). Su ingreso bruto doméstico total fue $8,070,537, una cifra impresionante dada la falta inicial de distribuidor y el hecho de que el número de pantallas en que se exhibió era solamente 457. Este éxito financiero la hace la película de temática latina más éxitosa de 2007, y una de las diez películas independientes más exitosas de ese año. A pesar de su éxito imprevisto, las reseñas críticas no fueron unánimes en su aprecio. En su reseña crítica para el períodico Village Voice, Julia Wallace indicó la dificultad de algunos estadounidenses de apreciar Bella: Director Alejandro Gomez Monteverde has so little control of tone or nuance that even the most tragic and serious moments here come off as melodramatic jokes. (During the screening I attended, nearly the entire theater burst out laughing at the violent death of a child.) (Wallace 1) Una reseña crítica de Scott Tobias en el sitio web The Onion A.V. Club expresó sentimientos parecidos, si aún más fuertes: 2 What sort of ballot-stuffing scandal [at the Toronto Film Festival] could explain how this gooey pro-life advertisement, masquerading as a cheap-looking Mexican telenovela, robbed the likes of Volver, Away From Her, Borat, Rescue Dawn, and other popular favorites? [...] Director Alejandro Monteverde and his co-screenwriter Patrick Million don't provide much in the way of melodramatic twists; they just set 'em up and knock 'em down. [...] The emotions at play in Bella are no doubt heartfelt—and must have resonated with a few hundred people, anyway—but they're so cut-and-dried that the mawkish script virtually writes itself. (Tobias 1) Stephen Holden de The New York Times la llama “a mediocre
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