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Strawberry and Chocolate Flavoured Cuban Culture

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Strawberry and Chocolate Flavoured Cuban Culture I? •• Strawberry and Chocolate flavoured cuban culture BY REYNALDO GONZÁLEZ A recent cuban film, Strawberry and Chocolate, directed by Tomás Gutiérrez Alea and Juan Carlos Tavío, took all the leading prizes at the XVth Festival of New Latin American Cinema, held in La Habana, Cuba, and has become an unmatched sucess story in the island, also winning the Berlin Festival's Silver Bear along with other awards. The writer and essayist Reynaldo González maintains that the film is more fhan just a happy ennumeration of unpleasant situations, that he has suffered also, and that it is part of a project of renewal that cuban culture must necessarily undergo, in order to understand better what intolerance elevated to political culture meant. This essay cuts into the essence of the hardest years that cuban artists experienced during the euphemistically termed "grey quinquennium", that was really a very long nightmare, a wound still open because burocratic acknowledgements and incentives can't simply heal it. 1. ASUBJECTFORAN Ha told US about tha bourgeois man EXCEPTIONAL FILMMAKER. perturbed by tha impact of revolution in Memorias del subdesairollo, a T. Gutiérrez Alea and Che Guevara. representation of the upper and middla Many believe God is oii iheir side, Historias de la Revolución. others beg him to let them be at classes that wera facing the emargent his side... Island saying. His work was part of a movement that social phenomanom that would bring cama to be callad New latin Amarican them toppling down, and of tha Tomás Gutiérrez Alea is one of the cinema, and it was new indaed because aristocrat slavar of the ninetaenth cuban cinema directors that has its directors refused to continué cantury in La última cena, (Tha Last International standing. Yet not because churning out fatalistic formulas and trita Supper), prona to raligious santimants he has pandered to popular tastes or to ranchar cinema tliames, or stories of that maka him turn a group of serfs into distributors' demands, but due to his seamstresses battered by the wavas of "apostles of Christ" during ona evaning ability for narrating significant stories. virtua and vice. only to bahaad them naxt morning. Ha CÍNKOAÍlANTKrODt *ftt MOOfíMO narrated the regressive decadent process the great masters of cuban cinema, Paz. They started with a critical work of the cuban national middle class in together with Humberto Solas in fiction, and remained faithful to its literary Los Sobrevivientes, (The Survivors), and and Santiago Álvarez in documentary. condition, El lobo, el bosque y el hombre the ironic puteóme that the imposition of He has often come up with polemics nuevo, (The Wolf, the Forest and the an ideal during the sixteenth century because he has lived Ufe intensely. His New Man), written by the script writer brought about when it tumed resources, those of contemporary himself. Alea, Tavío and Paz dared to destructive, in Una pelea cubana contra uitellectual discourse, (distance and tread slippery ground, to satisfy certain los demonios, (A cuban fight against proximity required for the long standing demands of cuban demons). rationalization of emotion), allow him to contemporary culture: the move with dexterity in themes and marginalization of homosexuals, the Films like Las doce sillas, (The twelve problems that stemmed from a socialism instrumentaUzation of prejudice during a chairs) or La muerte de un burócrata, conditioned by the blockade and recent period, yet beyond that, a deeper (Death of a Burocrat), are indebted to economic dependency, improvisation seated intolerance, derived from the picaresque tradition, that a castüian and schemes that the cuban process ideahzed notions on the behaviour of analyst called "hungry cunning", a wasn't able to avoid despite the individuáis in society. popular subversive tool. With this autonomy of its origin, its leadership material and his tendency to populist and the impetuous health and resilience Strawberry and Chocolate tells of the inflexions, his work has revealed artistic of national culture. difficult friendship between David, a mastery, keeping to the tradition of the young communist, sexist and prejudiced, cinema d'auteur, that poses demanding One could expect from Gutiérrez Alea and Diego, a non-closet homosexual, a questions to an audience and doesn't that he would get involved in any matter "mad girl" as cuban argot says. Parallel merely drug them up. Gutiérrez Alea deemed "problematic" without stories with their respective contexts stands out in cuban cinematography, succumbing to triumphalist propaganda reveal double standards, political that is vocationally distanced from or giving Ln to irrational scepticism, two dogmatism and the reciurence to the commercial trends, as one of the most of the most serious dangers that prey on blackmarket as a means of survival in talented directors in the field of artistic cuban creation. He has the diré conditions of the blockade and contemporary reality, including the not succeeded in doing so with his film an economy that isn't able to solve in very satisfactory result of Hasta cierto Strawberry and Chocolate that has any way the problems of home-market punto, that dealt with considerable scored highs in ticket sales and has consumption. emphasis on a theme, that of cuban become debating fodder for intellectuals. machismo, which Pastor Vega treated Its mighty success has meant that a Things get complex because the subject much more efficiently in his film Retrato subject never before treated with such is not isolated, and it precipitates a de Teresa. stark sincerity has reached homes, social convulsión that is set on revisLng offices and places of public meeting. everything. The anecdotal background If something characterizes the work of and the narrative angles had to reflect Gutiérrez Alea it is the fact that very It benefitted from the coUeiboration of the various thoms of a problematic clearly defined arguments enable him to another sardonic and analytic producer, situation where oppressors and expand his thoughts on history and to Juan Carlos Tavío, [La Permuta and oppressed were locked in a struggle suggest different contents. He is one of Plaff), who worked on a script by Senel between tradition and the need for reform, where assent was given by Its premier showings in La Habana interdisciplinary basis, in order to inherited concepts and the pressing broke all audience expectations well determine exactly what our idiosincracy obligation to subvert them. This leads us before it went into the provincial circuit, is, including the áreas of popular beliefs to an ethical problem that has been and that is considering that in Cuba the and its myths, not as radical as was shaped by forcé of history, with many cinema has been a great public concern. esteemed initially, until we have seen sedaacks, but upholding to a reforming "If we can interpret the evidence how many of these homophobic criteria will that nobody in their sane mind can correctly", said a north american have been injected and overdimensioned, doubt. cubanologist visiting the island, "then when not clearly instrumentalized the mile long queues symbolize the during different periods of our history. It is true in general that almost all the success of the plot and the approach, work of cuban film-makers can be they constitute a criticism of incalculable The other implications of the plot and grouped inte this kind of ethic reflection effect because it tums into a majority what Alea proposed to express through exemplified through anecdotes. Some concern a problem that had never before it, as he tends to do, lent it an recent films emphasize debate, mainly been treated so directly. In this sense the unimagined transcendence. Fresa y those already mentioned by Alea and film acts as revulsión for discriminatory Chocolate was destined to be much more Vega, Un hombre de éxito by Humberto concepts upheld over a long period of than an exceptional film. For the Solas, Papeles secundarios by Orlando time." moment I prefer to analyse the context Rojas, the tales of Mujer transparente, of this anecdote and what the 70's especially "Laura" by Ana Rodríguez, The very existence of the film already meant for the cuban cultural life that Adorables Mentiras by Gerardo Chijona, proves that things have began to change saw the birth of the friendship between and the controversial Alicia en el Pueblo with respect to the gay minority in the young undergraduate conununist de Maravillas by Daniel Díaz Torres, to Cuba, yet that "the authorities didn't and the homosexual emerged from the which cuban creativity owes much, make such a keen effort to try and closet. And it isn't a whimsical despite its problematic reception; eradicate anti-homosexual feelings as insistence, for in the film is debated with another chapter of an ongoing series that they did when it carne to bettering the understandable emphasis the fate of the threatens the futiu^e of the cinema consideration due to the blacks and to art work that challenges established screen: excessive intolerance. women, for example." guidelines and the personality that loves its own national culture as opposed to If it is true that the concern for an ethics Tomás Gutiérrez Alea had once again canons that were imposed as ideal and that is progressively defined as it runs touched an issue that stirred deep held exclusive for the construction of a nwe into difficulties, (the same ones that popular anxiety. The challenge was also kind of society. beset our society), could determine our far-reaching, in a context where cinema's character, it is equally evident homophonic prejudices are the result of II. GREY QUINQUENNIUM OR LONG that of the arts it has been the one that an understanding that the majority has TERM NIGHTMARE? has approached reality in Cuba with the of sexual affairs as a whole.
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